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The Cleveland Museum of Art Members Magazine / 2022'7 ISSUE 2

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COVER

Sarah, Lagos, Nigeria
(detail) 2015. Namsa Leuba
(Swiss, b. 1982). Image
courtesy of Aperture, New
York, 2019. © Namsa Leuba

Cleveland Art: The Cleveland
Museum of Art Members
Magazine

Vol. 62 no. 2, 2022 (ISSN 1554-
2254). Published quarterly by
the Cleveland Museum of Art,

11150 East Boulevard, Cleveland,

Ohio 44106-1797.

POSTMASTER: Send address
changes to Cleveland Art:

The Cleveland Museum of Art
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Cleveland Museum of Art, 11150
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included in membership fee.
Periodicals postage paid at
Cleveland, Ohio.

2 2022 / Issue 2

FROM THE DIRECTOR

Dear Members,

As the sun rises on another summer in Cleveland, my colleagues and I look
forward to welcoming you to several important new exhibitions and exciting
public programs at the Cleveland Museum of Art.

In May, we inaugurated the exhilarating and provocative exhibition
The New Black Vanguard: Photography between Art and Fashion. Curated
by New York City-based art critic and writer Antwaun Sargent, the show
spotlights the work of 15 groundbreaking artists, including Tyler Mitchell,
the first Black photographer to shoot a cover for Vogue, and Awol Erizku,
whose photographs have appeared in Vogue, GQ, and the New York Times. In
Cleveland, the exhibition features vignettes with actual outfits, designed by
three leading stylists: Arielle Bobb-Willis, Daniel Obasi, and Jermaine Daley.

Later this summer, the museum will present a number of important instal-
lations as part of FRONT 2022. FRONT International: Cleveland Triennial for
Contemporary Art is a major festival of contemporary art comprising artist
commissions, performances, films, and public programs. These will unfold
across Northeast Ohio and may be seen in spaces throughout Cleveland,
Akron, and Oberlin, including in several CMA galleries. Oh, Gods of Dust and
Rainbows, this year’s iteration of FRONT, will run from July 16 to October
2. Find more on the museum’s role in this groundbreaking international
triennial on pages 12 through 14.

Also opening later this year is an exhibition examining the wide scope of
the Keithley Collection. In March 2020, Clevelanders Joseph P. and Nancy F.
Keithley donated more than 100 works of art to the museum, the most signif-
icant single gift we had received since the bequest of Leonard C. Hanna Jr. in
1958. Their wonderful and wide-ranging collection focuses on Impressionist,
Post-Impressionist, and modern European and American paintings. Among
the highlights are five paintings by Pierre Bonnard; four each by Maurice
Denis and Edouard Vuillard; two each by Milton Avery, Georges Braque,
Gustave Caillebotte, Joan Mitchell, and Félix Vallotton; and remarkable in-
dividual works by Henri Matisse, Pablo Picasso, Camille Pissarro, Andrew
Wyeth, and others. The Keithley Collection also includes works on paper,
European and American decorative arts, and Chinese and contemporary
Japanese ceramics. Western and Asian works will be intentionally juxta-
posed in the show, in much the way they were when still in the collectors’
home. We are hugely grateful to the Keithleys for their transformative gift,
which CMA visitors will have the opportunity to experience in its entirety for
the first time in the fall.

Stepping outside the museum, we will present Summer Arts Fest: Dance
with Giants on June 11, Solstice on June 25, and our City Stages world music
series later this summer. Please watch your email and visit www.cleveland-
art.org for details as they are released.

Finally, I want to invite all of you to come visit us soon. Our outdoor
spaces—the Smith Family Gateway and the Wade Lagoon and Oval—are in
full bloom, and we have much to explore inside the museum’s doors. Once
again, thank you for your continued support.

Sincerely,

Oo Darth
William M. Griswold
Director and President

IN THIS ISSUE

The New Black Vanguard

Vibrant, genre-breaking
images between art and
fashion

On, Goar § Dorl
ano Sinbows

ded

FRONT at CMA

Eight contemporary
international artists
animate the museum’s
galleries

10
Art Meets Fashion
The New Black Vanguard
stylists

History Painting
Discussing Kerry James
Marshall’s Bang on loan

from Progressive

26
Impressionism to Why Born Enslaved!
Modernism The museum acquires a
The Keithley Collection masterpiece
Tales of the City 22
Global Feminisms + Video Art 23
Armor Loan Installation 24
Traveling Artworks 32
Supporter Story 36

12
Julie Mehretu: Portals
The artist curates an
exhibition from
the CMA’s collections

Exhibition Schedule
A helpful list to plan your
next visit

Four Favorites
Experiencing the CMA’s
permanent collection

www.clevelandart.org 3

SPRING EXHIBITION

The New Black Vanguard

Vibrant, genre-breaking images between art and fashion

Barbara Tannenbaum
Chair of Prints, Drawings,
and Photographs and
Curator of Photography

EXHIBITION

The New Black Vanguard:

Photography between
Art and Fashion

Through
September 11, 2022

The Kelvin and Eleanor
Smith Foundation
Exhibition Gallery

OPPOSITE

Adeline in Barrettes 2018.

Micaiah Carter (American,
b. 1995). Image courtesy of
Aperture, New York, 2019.
© Micaiah Carter

4 2022 / Issue 2

“The beauty of photography,” says Ruth Ossai, “is
it starts a dialogue about who we are, where we
come from, and where we are going.” Ossai is one
of 38 photographers in The New Black Vanguard:
Photography between Art and Fashion, an exhi-
bition organized by curator and critic Antwaun
Sargent. These artists belong to a new visual
vanguard Sargent has identified, a cadre of Black
photographers who attempt to answer the above
questions. Living and working in Africa and
throughout the African diaspora, they use photog-
raphy to open conversations about representation
of the Black body and Black lives, to challenge
the notion that Blackness is homogenous, and to
present new perspectives on notions of race and
beauty, gender and power.

The work of these artists revolves around
fashion—fashion in the largest sense, from cou-
ture clothing and accessories to street styles and
self-presentation. You may have seen their pho-
tographs in lifestyle, fashion, and culture publi-
cations; in ad campaigns for couture houses and
major fashion brands; on the artists’ individual
social media channels; or on the walls of museums
around the world. They produce vibrant portraits
and conceptual images that fuse fine art photogra-
phy and fashion photography, breaking traditional
boundaries between those genres and between the
fine art and commercial worlds.

Consider Tyler Mitchell, the first Black artist
to shoot a cover of Vogue in its 125-year history.
This American photographer and filmmaker was
23 years old and had recently received his BFA
from New York University when Beyoncé chose
him to shoot the cover and accompanying editorial
feature for the magazine’s September 2018 issue.
That photograph was acquired by the National
Portrait Gallery in 2019, the same year Mitchell
had a solo show at an Amsterdam photography
museum, which later traveled to the International
Center of Photography in New York City. Awol
Erizku, an Ethiopian American, has had work
published in Vogue, GQ, and the New York Times
and exhibited at New York’s Museum of Modern
Art. Swiss Guinean photographer Namsa Leuba
has produced fashion series for Edun and Dior and
fashion campaigns for Christian Lacroix and has

been in exhibitions at the Guggenheim Bilbao and
London’s Tate Modern.

Fifteen artists are featured in the exhibition,
each represented by multiple photographs. A
salon wall presents a single work each by 23 ad-
ditional Black photographers contributing to this
movement. The 38 artists are an international
set and span the globe from Lagos to London and
Johannesburg to New York. The exhibition con-
textualizes their artwork through a display of past
and present publications. The former chart the
history of inclusion and exclusion in the creation
of the Black commercial image; the latter propose
a reenvisioned future for it. A video viewing area
hosts continuous showings of 11 experimental vid-
eos and fashion films by artists in the show who
have experimented with the moving image.

The photographs and films in The New Black
Vanguard put Black bodies—which have heretofore
mostly been excluded from fashion magazines and
ad campaigns—at the center of fashion images as
well as behind the camera, styling the images, and
sometimes also designing the clothing. As photog-
rapher Campbell Addy notes, “Fashion has always
been a barometer for measuring privilege, power,
class, and freedom. To play with fashion is to play
with one’s representation in the world.”

The artists in the show challenge the notion of
beauty as Eurocentric, expanding the canon to
represent a dazzling variety of skin tones and body
and hair types. Some of the artists in the show,
such as Jamal Nxedlana and Addy, have even
formed their own casting agencies to encourage
other photographers, editors, and casting agents
to employ diverse models. There are images in
The New Black Vanguard that feature professional
models with what seem like impossibly elongated
and thin bodies, but there are many photographs
showing models with the proportions that we see
around us every day.

Some photographers take fashion out of the
studio and into their worlds. Quil Lemons, for
instance, selected family, friends, and people
he encountered as models. Lemons shot a series
in South Philadelphia, where he grew up, that
depicts his great-grandmother, mother, and sis-
ters wearing dresses by Batsheva, who blends

www.clevelandart.org 5

RIGHT

Sarah, Lagos, Nigeria
2015. Namsa Leuba (Swiss,
b. 1982). Image courtesy of
Aperture, New York, 2019.
© Namsa Leuba

OPPOSITE
Lagos, Nigeria 2019.

Stephen Tayo (Nigerian, b.
1994). Image courtesy of
Aperture, New York, 2019.
© Stephen Tayo

6 2022 / Issue 2

Victorian and American prairie style. Erizku, a Los
Angeles-based artist born in Ethiopia and raised
in the Bronx, has a series called Untitled Heads.
These portraits capture the colorful, creative hair-
styles currently sported by his male friends from
childhood. Nigerian photographer Stephen Tayo
captures the exuberant styles of creative young
people and elders on the streets of Lagos, which
has a burgeoning metropolitan fashion scene.
These artists draw our attention to the beauty, en-
ergy, and impact of vernacular art and street style.

The Cleveland showing of The New Black
Vanguard offers a unique addition to the exhibition:
fashion installations of clothing on mannequins
created by three of the stylists whose work is fea-
tured in the show. Although fashion and fashion
photography have not been a major focus at the
Cleveland Museum of Art, its collection contains
exquisite and important examples of clothing and
textiles from numerous countries and many eras.
Our photography and drawing collections also con-
tain fashion studies. And the museum has mount-
ed exhibitions of garments over the years, most
recently Opulent Fashion in the Church in 2017
and Fashioning Identity: Mola Textiles of Panama,
which closed a few months ago.

In planning the Cleveland installation of The
New Black Vanguard, I had a distinct advantage

over the past curators addressing fashion: the
chance to collaborate with two new staff members
who are experts in the area. Eric and Jane Nord
Chief Conservator Sarah Scaturro came to us from
the Costume Institute at New York’s Metropolitan
Museum of Art. She founded the Costume Institute’s
conservation department and is both a fashion his-
torian and conservator. Darnell-Jamal Lisby, the
CMA’s new assistant curator, came from Cooper-
Hewitt, Smithsonian Design Museum. A fashion
historian, he has a thorough understanding of
dress from the 14th century onward, but his par-
ticular interest is illuminating the intersection of
Blackness and fashion studies in the 20th and 21st
centuries. I have had great fun working with both.

Scaturro and Lisby were instrumental in the
process of choosing the stylists and coordinating
their installations. Their awareness of the history
of fashion and how the contemporary world of de-
signers and stylists functions has been incredibly
beneficial in preparing for this exhibition. The
stylists we chose are accustomed to dressing live
models and arranging clothes for the motion of the
model and the singular brief moments when the
shutter snaps. Installing fashion on mannequins
that will stand in a gallery for several months re-
quires different approaches, all of which are quite
familiar to Scaturro. She helped guide the stylists
through the process of selecting a mannequin that
would work well with their desired look (from a
panoply of different manufacturers and styles). As
only one of the stylists could be present in person
for installation, the other two sent images of how
they wanted their installation to look and watched
virtually as Scaturro dressed their mannequins,
a skill at which she is exceedingly proficient. A
Zhuzh (slight adjustment) here, a zhuzh there can
make the difference between blah and brilliant in
fashion.

Scaturro’s and Lisby’s specialized knowledge
have also deepened our understanding of the
photographs in The New Black Vanguard. Lisby
explicated some of the meaning behind the cloth-
ing adorning the model in Leuba’s vividly colored
and patterned photograph Sarah, Lagos, Nigeria
(reproduced on this page and on the magazine’s
cover). The image belongs to a 2015 series called
NGL or Next Generation Lagos. It attempts to
capture, says the artist, “the energy of the city of
Lagos—its chaos, vibrancy, and determination—
and seeks to translate that spirit into a unique

www.clevelandart.org 7

8 2022 / Issue 2

OPPOSITE

Fire on the Beach 2019.
Dana Scruggs (American).
Image courtesy of Aperture,
New York, 2019. © Dana
Scruggs

BELOW

Late Leisure 2019. Jamal
Nxedlana (South African,
b. 1985). Image courtesy of
Aperture, New York, 2019.
© Jamal Nxedlana

visual language.” The series features the clothing
of young, cutting-edge Nigerian designers. The
jacket in Sarah, by Ituen Basi Torlowei, integrates
wax print fabrics, which derived from Dutch co-
lonial trade, with Indigenous textiles like Akwete
(a Nigerian handwoven fabric). Torlowei and other
young African designers sometimes subvert tech-
niques that arose through colonialism, converting
them to their own, post-colonial vocabulary.

Those designers, Leuba’s photographs of their
work, and all the works in The New Black Vanguard
could be described as visual activism, a term used
by Sargent. While the photographs and installa-
tions in the exhibition explore fashion, it becomes a
vehicle through which to address issues of race and
beauty, gender and power. As Mitchell declares,
“To convey Black beauty is an act of justice.”

The exhibition is organized by Aperture, New York, and Is curated by
Antwaun Sargent.

The New Black Vanguard is made possible in part by A/rbnb Magazine.

Major support Is provided by PNC Bank. Generous support Is provided
by Donald F. and Anne T. Palmer.

J. Frankino Foundation, Janice Hammond and Edward Hemmelgarn,
Eva and Rudolf Linnebach, William S. and Margaret F. Lipscomb, Bill
and Joyce Litzler, Tim O’Brien and Breck Platner, Anne H. Well, the
Womens Council of the Cleveland Museum of Art, and Claudia C.
Woods and David A. Osage.

www.clevelandart.org 9

SUMMER EXHIBITION

Art Meets Fashion

Darnell-Jamal Lisby
Assistant Curator

EXHIBITION

The New Black Vanguard:

Photography between
Art and Fashion

Through
September 11, 2022

The Kelvin and Eleanor
Smith Foundation
Exhibition Gallery

LEFT
Magic Hour (sketch of

installation) 2022. Jermaine
Daley (American, b. 1990).
Courtesy of Jermaine Daley

RIGHT

To Be with You, Sucha
View (sketch of installation)
2022. Arielle Bobb-Willis
(American, b. 1994).
Courtesy of Arielle Bobb-
Willis

10 2022 / Issue 2

The New Black Vanguard stylists

From dressing celebrities for red carpets and
music videos to developing the creative direction
for fashion magazine editorials and fashion cam-
paigns, it is the stylist who assembles compelling
outfits that enthrall audiences. A stylist’s role is to
choose and assemble all the garments and acces-
sories that speak to a story and, most importantly,
determine how those elements are placed onto the
body. Their choices of an item of clothing or how
they arrange an outfit can spark an international
trend. To illuminate the essential role of the stylist
in fashion photography, as the CMA’s assistant
curator with a focus in fashion, along with a cu-
ratorial team, | invited three stylists to add their
creativity to The New Black Vanguard: Photography
between Art and Fashion. Each was tasked with de-
veloping an ensemble of clothing to be displayed on
a mannequin in the galleries in conjunction with
the photographs that compose the main portion of
the exhibition.

Arielle Bobb-Willis and Daniel Obasi both work
as stylists and photographers, and Jermaine Daley
is a stylist who collaborates with photographers.
Their ensembles reveal the stylists’ individual per-
spectives on how fashion can express a range of
Black experiences and encourage viewers to com-
pare the experience of viewing fashion in person
versus through a photographer’s lens.

Fashion is a remarkable medium that emotional-
ly connects with audiences; many communities see
it as a vehicle for self-expression and identity. For
Bobb-Willis, Obasi, and Daley, these installations

W 5ft

spark an important conversation about how
Blackness is a dynamic umbrella where style is a
form of unity as well as a platform to voice diverse
perspectives vital to the community’s existence.

Daley is a stylist centering his practice on mens-
wear. His installation, Magic Hour, was inspired
by the colorful sunsets he saw while visiting the
Seychelles. The Plexiglas background, designed by
sculptor Marcus Manganni, shines with a prism-
like effect, evoking the hues of those singular mo-
ments. Daley’s choices convey a fresh take on the
traditional men’s suit, illuminating stability and
tranquility in this time of turmoil.

Obasi is a Nigerian artist who works in multiple
roles across fashion, photography, and film. His
installation, At last... Love! arose from his inter-
est in confronting the regulation of queer love by
Nigerian religious and political systems. The celes-
tial elements of the ensemble reflect some of Obasi’s
artistic influences, including Afrofuturism, which
is the reimagination of Black experiences through
their intersection with science, technology, and art.

Like Obasi, Bobb-Willis is both a stylist and pho-
tographer. Her installation, Jo Be with You, Such
a View, draws inspiration from the endless forms
created by treating the human body as sculpture.
Her process includes modifying thrift-store cloth-
ing to complement the contorted shapes created by
the body. She says, “Reality is great, but it could
be more fun.” Similarly, she wants people to feel a
sense of joy when they see her work.

At last . . . Love (sketch
of installation) 2022. Daniel
Obasi (Nigerian, b. 1994).
Courtesy of Daniel Obasi

The exhibition is organized
by Aperture, New York, and is
curated by Antwaun Sargent.

The New Black Vanguard is
made possible in part by A/rbnb
Magazine.

Major support is provided by
PNC Bank. Generous support is
provided by Donald F. and Anne
T. Palmer.

@©PNC

Mrs. Walter R. Chapman Jr.,

the Jeffery Wallace Ellis Trust

in memory of Lloyd H. Ellis Jr.,
Leigh and Andy Fabens, Michael
Frank in memory of Patricia
Snyder, the Sam J. Frankino
Foundation, Janice Hammond
and Edward Hemmelgarn, Eva
and Rudolf Linnebach, William
S. and Margaret F. Lipscomb, Bill
and Joyce Litzler, Tim O'Brien
and Breck Platner, Anne H. Weil,
the Womens Council of the
Cleveland Museum of Art, and
Claudia C. Woods and David A.
Osage.

www.clevelandart.org 11

SUMMER EXHIBITION

Julie Mehretu: Portals

Internationally renowned contemporary artist curates an exhibition from

Emily Liebert
Curator of Contemporary
Art

EXHIBITION

FRONT International:
Cleveland Triennial for
Contemporary Art

July 16-October 2, 2022

CMA galleries; see
exhibitions listing

EFT
Julie Mehretu.
hoto: Julie Mehretu Studio

is}

RIGHT

Seated Buddha AD 400—
430. Northern India, Uttar
Pradesh, Mathura, Gupta
period (c. AD 320-550). Red
mottled sandstone; h. 82 cm.

Leonard C. Hanna Jr. Fund,
1973.214

All exhibitions at the
Cleveland Museum of Art are
underwritten by the CMA
Fund for Exhibitions. Generous
annual support is provided by
an anonymous supporter, Dick
Blum (deceased) and Harriet
Warm, Dr. Ben H. and Julia
Brouhard, Mr. and Mrs. Walter
R. Chapman Jr., the Jeffery
Wallace Ellis Trust in memory
of Lloyd H. Ellis Jr., Leigh and
Andy Fabens, Michael Frank in
memory of Patricia Snyder, the
Sam J. Frankino Foundation,
Janice Hammond and Edward
Hemmelgarn, Eva and Rudolf
Linnebach, William S. and
Margaret F. Lipscomb, Bill and
Joyce Litzler, Tim O’Brien and
Breck Platner, Anne H. Weil,
the Womens Council of the
Cleveland Museum of Art, and
Claudia C. Woods and David
A. Osage.

12 2022 / Issue 2

the CMA’s collections

On the occasion of FRONT 2022, Julie Mehretu:
Portals offers a fresh perspective on the Cleveland
Museum of Art’s encyclopedic collections through
an artist’s eyes. This exhibition, the first ofits kind
at the CMA, integrates paintings by Julie Mehretu
with works from the museum’s collections that
Mehretu has selected and curated within the gal-
lery. Spanning a range of cultures, histories, and
mediums, the works she has chosen reflect images
and ideas that inspire her own artistic practice
and process.

Mehretu is one of the leading artists of her
generation. Born in Ethiopia in 1970, she grew up
in Michigan and now lives in New York. Her art
is abstract, but it is always firmly rooted in the
recognizable world. Each work—whether a paint-
ing, a drawing, or a print—stems from her deep
engagement with history, politics, and the social
life unfolding outside her studio walls.

Mehretu’s early paintings explore architec-
tural structures and systems of mapping. In her
recent work, regard for the body—its forms and
passages through the world—resides at the cen-
ter. Throughout, her work is distinguished by a
density created through overlapping layers of
ideas, source materials, and varied modes of mark
making. These characteristics of Mehretu’s art are
amplified throughout this exhibition.

Julie Mehretu: Portals was developed through
research and discussions that took place over a
yearlong period between Mehretu and curators
at the Cleveland Museum of Art and FRONT
International. It marks the start of a long-term
engagement between Mehretu and Cleveland: the
artist will debut an outdoor mural in downtown
Cleveland in 2023.

Visitors to Julie Mehretu: Portals will be
greeted by Seated Buddha (AD 400-430) from the
CMA’s collection of Indian art. This work signals
the importance of the figure to Mehretu’s visual
thinking, demonstrated throughout this exhibition
in her selection of figurative works that span civ-
ilizations, geographies, and media. Mehretu ob-
serves how Seated Buddha and the other figurative
sculptures she has selected—such as the Roman
Torso of Apollo (AD 100-200) and the Congolese
Male Figure (1880)—bear physical traces of having
traveled from their original cultural contexts to
the CMA where they live as museum objects.

An interest in bodies moving through space is
at the core of Mehretu’s own work as well. In her
Untitled (brigade) (2005), one of the works featured
in this show, layered architectural drawings of a
military-industrial city structure the painting’s
abstract composition. During the period when
Mehretu made this work, she often used maps,

TOP

The Cave Door of
Spring 1825. Totoya Hokkei
(Japanese, 1780-1850).
Pentaptych of woodblock

prints; ink and color on paper;

each: 18.8 x 21.4 cm. Bequest
of James Parmelee, 1940.990

BOTTOM LEFT

Untitled, or the Burning
Pin 1990. Louise Bourgeois
(American, 1911-2010).
Drypoint; 49.3 x 56.2 cm.
John L. Severance Fund,
1991.229. © The Easton
Foundation / Licensed by
VAGA at Artists Rights
Society (ARS), NY

BOTTOM RIGHT

Rho I 1977. Jack Whitten
(American, 1939-2018).
Acrylic on canvas; 182.8 x
213.2 cm. Gift of Scott C.
Mueller and Margaret Fulton
Mueller, 2010.1. © Jack
Whitten

wayfinding signage, and architectural imagery
to explore the impact of these and related sys-
tems of physical organization on individuals and
communities.

The relationship in Untitled (brigade) between
the body, architecture, and abstraction also comes
to the fore in works from the CMA’s collection se-
lected by Mehretu for this exhibition, such as Jack
Whitten’s Rho I (1977) and Isamu Noguchi’s Model
for Portal (1977). The latter work, to which the
exhibition refers in its title, is a small-scale repre-
sentation of Noguchi’s Portal, a 36-foot-tall outdoor
sculpture in downtown Cleveland. Fabricated lo-
cally, Portal is made of a single continuous black
steel pipe whose elegant abstract form offers a
visual threshold between the city and its Justice
Center, for which the sculpture was commissioned.
Portal is located near the site of Mehretu’s forth-
coming outdoor mural.

Untitled (brigade) is built primarily from a
dense accumulation of dashes, a repetitive and or-
dered system of mark making that differs from the
looser gestures of Mehretu’s later works, such as
eye of (Thoth) (2021), also on view in the exhibition.
In this work, translucent layers of luminous color
hover over a dense array of gestural marks, both
handmade and digitally created. The frenetic qual-
ity of the marks is enhanced by their dispersal all

over the painting’s composition, which never yields
a place for the viewer’s eye to rest. Conjuring the
ever-moving hand of its maker, the vibrant energy
of this abstraction appears to be barely contained
by its frame. The dynamism of abstract gestures
in eye of (Thoth) is found elsewhere throughout the
exhibition in works such as an untitled drawing by
Norman Lewis from 1960 and Louise Bourgeois’s
Untitled, or the Burning Pin (1990).

The visual rhythms of Mehretu’s work are often
informed by music and sound. This connection
becomes more vivid through her inclusion in the
exhibition of works such as Arthur Dove’s Spiral
Sketchbook No. VI (c. 1938-44), in which he ex-
plored the ways certain combinations of form,
color, and line can evoke the same emotional and
physical responses as the harmonies of musical
sound, and the Japanese woodblock print series
The Cave Door of Spring (1825), which is filled with
images of music making and dancing.

Through Julie Mehretu: Portals, the CMA looks
forward to inviting its audiences to experience
novel encounters with historical and contempo-
rary art alike.

www.clevelandart.org 13

SUMMER -EXFIBITION

FRONT International 2022 at CMA

Eight contemporary international artists animate

Emily Liebert
Curator of Contemporary
Art

Barbara Tannenbaum
Chair of Prints, Drawings,
and Photographs and
Curator of Photography

Nadiah Rivera Fellah
Associate Curator
of Contemporary Art

Britany Salsbury
Associate Curator of Prints
and Drawings

EXHIBITION

FRONT International:
Cleveland Triennial for
Contemporary Art

July 16-October 2, 2022

CMA galleries; see
exhibitions listing

All exhibitions at the Cleveland
Museum of Art are underwritten

by the CMA Fund for Exhibitions.

Generous annual support is
provided by an anonymous
supporter, Dick Blum (deceased)
and Harriet Warm, Dr. Ben H.
and Julia Brouhard, Mr. and

Mrs. Walter R. Chapman Jr.,

the Jeffery Wallace Ellis Trust

in memory of Lloyd H. Ellis Jr.,
Leigh and Andy Fabens, Michael
Frank in memory of Patricia
Snyder, the Sam J. Frankino
Foundation, Janice Hammond
and Edward Hemmelgarn, Eva
and Rudolf Linnebach, William
S. and Margaret F. Lipscomb, Bill
and Joyce Litzler, Tim O’Brien
and Breck Platner, Anne H. Weil,
the Womens Council of the
Cleveland Museum of Art, and
Claudia C. Woods and David A.
Osage.

14 2022 / Issue 2

the museum’s galleries

Oh, Gods of Dust and Rainbows, the second iter-
ation of FRONT International, is a multi-venue
exhibition that embraces art as an agent of trans-
formation, a mode of healing, and a therapeutic
process. The title is an homage to the 1957 poem
“Two Somewhat Different Epigrams” by Langston
Hughes. A tender, brutal, and provocative prayer,
the poem meditates on the inseparability of joy
and suffering. Expanding on Hughes’s invocation,
FRONT 2022 explores how art making offers the
possibility to transform and heal people—as indi-
viduals, as groups, and as a society. The triennial
also demonstrates how aesthetic pleasure—shar-
ing joy through movement, music, craft, and
color—can bridge differences between people to
bring them together. Finally, the exhibition sug-
gests ways that art making can speak with power,
showing people how to recognize and reimagine
the invisible structures that govern contemporary
life.

The CMA is a presenting partner of FRONT
International. As part of the multi-venue exhibition,
CMA curators Emily Liebert, Nadiah Rivera Fellah,
Britany Salsbury, and Barbara Tannenbaum and
Tom Welsh, director of performing arts, have
organized seven exhibitions with eight artists
throughout the museum’s galleries. These pre-
sentations reflect and amplify different aspects of
FRONT International 2022’s primary interests and
curatorial considerations.

Julie Mehretu: Portals will be on view in the
Julia and Larry Pollock Focus Gallery. For this
exhibition, works by the internationally renowned
artist Julie Mehretu (American, born 1970) will
be in conversation with works from the CMA’s
encyclopedic collection that Mehretu has selected
because of their affinities with her own artistic
practice. For more information on this exhibition,
see page 12 in this issue.

At the opening and closing of FRONT, Michele
Rizzo (Italian, born 1984) and Maria Hassabi
(Greek, born 1973), respectively, will give dance
performances in the Ames Family Atrium. Newly
adapted for the CMA, Rizzo’s choreographic work
HIGHER xtn (2018) considers the unique spaces
of nightclubs and the ways they afford both self-
expression and community for the dancers who

frequent them. Throughout the piece, a group
of trained dancers perform minimal, repetitive
movements to a hypnotic electronic soundtrack.

Making its debut at the Cleveland Museum of
Art, Hassabi’s work CANCELLED (2022) considers
womanhood from perspectives that cross gener-
ations. Four female performers’ choreography is
composed of individual solos that display poses
historically associated with women based on
everyday mannerisms throughout history and
rooted in Hassabi’s signature style of stillness and
deceleration.

Nicole Eisenman: A Decade of Printing will be
presented in the James and Hanna Bartlett Prints
and Drawings Gallery. A prolific and highly in-
fluential painter and sculptor, Nicole Eisenman
(French American, born 1965) recasts art histori-
cal tropes in contemporary settings, often explor-
ing experiences of community and isolation in
today’s world. The works on view reveal how print-
making has emerged over the past ten years as a
primary vehicle for Eisenman to consider these
themes, translating them across media through
close collaborations with three master printers.

In Toby’s Gallery for Contemporary Art, two
new works by Yoshitomo Nara (Japanese, born
1959) will be integrated into the CMA’s display of
its permanent collection. That of one of the most
celebrated contemporary Japanese artists, Nara’s
work across mediums draws on a range of sources,
including music, literature, and childhood memo-
ries. This presentation will include a painting of
a child from a series for which the artist is best
known and a ceramic vessel in which he brings to-
gether his interests in painted imagery, sculptural
form, and language.

FRONT. Matt Eich and Tyler Mitchell, in the Mark
Schwartz and Bettina Katz Photography Gallery,
will bring together work by Matt Eich (American,
born 1986) and Tyler Mitchell (American, born
1995), artists who share an interest in belong-
ing, transformation, and the American South.
The works in this exhibition set joyful scenes of
leisure, languor, and personal contentment into
the Southern landscape. Both artists use photog-
raphy, most often associated with recording fact,
to suggest the possibilities of transformation, a

On,

delight in the senses, and the engaging mystery
of the transitory.

A newly commissioned installation by Firelei
Baez (Dominican American, born 1981) will be fea-
tured in the museum’s east wing glass box gallery.
Known for large-scale paintings and immersive
installations that conjure lavish fictional picto-
rial worlds, Baez will create an installation that
integrates narratives of colonized cultures often
overlooked in Western art history. In particular,
the painting and sculpture on view are rooted in

Dost

, fe 2 ttt te a

Baez’s ongoing consideration of the ciguapa: a bold
and alluring female creature found throughout
Dominican folklore.

“The FRONT presentation at the CMA is an
opportunity to play with different timeframes for
art and art making,” says Prem Krishnamurthy,
FRONT’s artistic director. “When art spans this
spectrum, I believe it can begin to tweak our ev-
eryday experience and expectations of the world
in transformative ways.”

www.clevelandart.org 15

INTERVIEW

History Painting as a Slow Read

Discussing Kerry James Marshall’s Bang on loan from Progressive

Nadiah Rivera Fellah
Associate Curator of
Contemporary Art

ON VIEW
Bang

Toby’s Gallery for
Contemporary Art |
Gallery 229A

16 2022 / Issue 2

On April 1, a major installation of artworks was
unveiled in the contemporary galleries. A center-
piece of the rotation is the new addition of Kerry
James Marshall’s Bang (1994), which came to
the museum through a generous loan from the
Progressive Insurance Corporation. Nadiah Rivera
Fellah, associate curator of contemporary art,
spoke with H. Scott Westover, Progressive’s cura-
tor, about the history and imagery of the painting.

Nadiah Rivera Fellah (NRF): How did this work
come to be in Cleveland?

H. Scott Westover (HSW): Progressive Corporation
acquired this artwork in 1994, and at that time,
the piece was purchased by Toby Devan Lewis
[Progressive’s founding curator], expressly for
the grand opening of the new Progressive head-
quarters in Mayfield Village, Ohio. She had done a
walkthrough of the building as it was being con-
structed, and the building was designed in part
to house an art collection. Kerry James Marshall
also had a solo show at the Cleveland Center for
Contemporary Art [now MOCA Cleveland] in 1994,
so his work was featured in Cleveland the same
year.

NRF: Of Kerry James Marshall’s paintings, why
was Bang chosen for Progressive’s collection?

HSW: Our audience [at Progressive] is impressed
by the transformative capacity that artworks have.
They become new again in each era or in each
sociopolitical circumstance, so that history, in a
real-time way, updates the artworks. An artwork
that is questioning patriotism or taking an incisive
look at patriotic behavior by a group of children
has the potential to do that. In a sense, children
are in a vulnerable position when we are intro-
ducing them to social patterns and norms that we
want them to follow because they’re often expected
to do things or perform behaviors before they fully
understand them. We know these young children
of color [in the painting] are marginalized in other
ways, so their performance of patriotism becomes
especially unsettling. Marshall’s depiction of the
hyper-synthetic suburban environment almost
seems unreal. When you look at the painting, you
wonder, do they live there, or are they visiting? I

imagine the artist is pleased with that ambiguity.
So we understood that these are concepts that are
going to recur time and again, and that as history
plays out, this painting will continue to be reborn.

NRF: So there’s a timelessness to the work, in
that the painting is continually activated by
historical circumstances and contemporary
conversations?

HSW: Yes. What is it to show solemn patriotism,
and can you show respect around the flag with-
out saluting it? Because it’s not clear who among
the children is the most fervent and who among
them is merely performing patriotism. It’s possible
that even one or two of them are not interested
at all, or don’t know enough to care. Their facial
expressions and body language are super rich and
complex in this way.

Within the first year of Progressive acquiring
Bang, Marshall visited [Progressive headquarters]
for a site visit. His best statement during that visit,
and a quote that we continue to reference, was:
“Art is a slow read.” He talked about himself as a
history painter, and history painting in general,
and how large-scale canvases capture many facets
and senses of a period within one grand scene.
He challenged us to explore the painting for all its
nuances to get a fuller picture, kind of like reading
a book. And he said do it slowly.

’

: ‘ey
‘ a)
> a v ff ee

‘ ake
. af

Bang 1994. Kerry James
Marshall (American, b.
1955). Acrylic and collage
on canvas; 261.5 x 289.4 cm.
Courtesy of The Progressive
Corporation, 3.2022

www.clevelandart.org 17

EXHIBITIONS

Exhibitions through August 2022

MEMBERS SEE ALL
TICKETED EXHIBITIONS
FOR FREE

Alberto Giacometti:
Toward the Ultimate
Figure

Through June 12, 2022

The Kelvin and Eleanor
Smith Foundation
Exhibition Hall

This exhibition of Alberto
Giacometti’s masterpieces
from the postwar years
(1945-66) examines

a central, animating
aspect of his oeuvre: his
extraordinary, singular
concern for the human
figure. Co-organized by
the Fondation Giacometti
in Paris and the Cleveland
Museum of Art, the
exhibition will also be
presented at the Museum
of Fine Arts, Houston;

the Seattle Art Museum;
and the Nelson-Atkins
Museum of Art in Kansas
City.

Women in Print: Recent
Acquisitions
Through June 19, 2022

James and Hanna Bartlett
Prints and Drawings
Gallery | Gallery 101

Featured are
approximately 30 works
by contemporary women
printmakers who have
experimented with an
array of techniques over
the past several decades
to explore subjects
ranging from identity
and social issues to the
creative process itself.

Currents and
Constellations: Black Art
in Focus

Through June 26, 2022

Julia and Larry Pollock
Focus Gallery | Gallery
010

This exhibition puts
art from the CMA’s
permanent collection

18 2022 / Issue 2

in conversation with a
vanguard of emerging
and mid-career Black
artists, as each explores
the fundamentals of art
making, embracing and
challenging art history.

Medieval Treasures from
Minster Cathedral
Through August 14, 2022

Gallery 115

This exhibition presents
seven of the most
spectacular treasures and
reliquaries from the 1000s
to the 1500s kept in the
Cathedral of Saint Paul in
Munster.

The New Black Vanguard:
Photography between
Art and Fashion

Through September 11,
2022

The Kelvin and Eleanor
Smith Foundation
Exhibition Gallery

Young Black artists from
Africa and the African
diaspora explore the
cross-pollination of art,
fashion, and culture. Their
photographs, videos,
and publications present
new perspectives on
photography and notions
of race and beauty,
gender and power.
Installations of fashion
elucidate the art of the
stylist.

Cycles of Life: The Four
Seasons Tapestries
Through February 19,
2023

Arlene M. and Arthur S.
Holden Textile Gallery |
Gallery 234

Last displayed in 1953,
this rare set of four late
17th- or early 18th-century
French tapestries from
the CMA’s collection is
examined through four
themes—their initial
design and production,
subsequent reproduction

and alteration, later
acquisition by the
museum, and recent
conservation treatment.

FRONT International:
Cleveland Triennial for
Contemporary Art

July 16-October 2, 2022

Oh, Gods of Dust and
Rainbows is a multi-venue
exhibition embracing

art as an agent of
transformation, a mode of
healing, and a therapeutic
process. CMA-based
projects for the festival
include: Firelei Bdez, Betty
T. and David M. Schneider
Gallery (218, east glass
box); Nicole Eisenman,
James and Hanna Bartlett
Prints and Drawings
Gallery (101); Matt Eich
and Tyler Mitchell, Mark
Schwartz and Bettina
Katz Photography Gallery
(230); Maria Hassabi,
Ames Family Atrium;
Julie Mehretu, Julia and
Larry Pollock Focus
Gallery (010); Yoshitomo
Nara, Toby’s Gallery for
Contemporary Art (229C);
and Michele Rizzo, Ames
Family Atrium.

Spiral Jetty
Through August 7, 2022

Video Project Room |
Gallery 224B

Spiral Jetty serves as a
companion to Robert
Smithson’s iconic,
monumental earthwork
of the same name, which
he constructed in 1970
at Rozel Point on the
northeastern shore of
Utah’s Great Salt Lake.
The film documents the
siting and making of
the work, interspersing
imagery of maps, aerial
views of the lake, and
footage of Smithson
driving through the
landscape.

Global Feminisms +
Video Art

August 7-December 4,
2022

Video Project Room |
Gallery 224B

Global Feminisms
features three video
works from the 1970s
through the 1990s from
global artists who have
significantly impacted
the video art medium
and contemporary art. In
each video, artists use the
human body to gesture
to social, political, and
psychological dissonance
in ways that are shocking,

unnerving, and humorous.

The exhibition features
work by American artist
Patty Chang, Brazilian
artist Lygia Pape, and
Swiss artist Pipilotti Rist.

PERMANENT
COLLECTION
INSTALLATIONS

Martial Art of India
Through August 21, 2022

Indian Painting Gallery |
Gallery 242B

Scenes of battles and
portraits of soldiers

in Indian painting

include both historical
and mythical, real and
idealized images—and
often in combination. This
selection of paintings
from the museum’s
permanent collection
reveals a range of
depictions, from historical
documents to illustrations
of epic tales.

Contemporary
Installation

Through September 25,
2022

Toby’s Galleries for
Contemporary Art; Paula
and Eugene Stevens
Gallery | Galleries 229A-C

A new installation in
the contemporary

galleries features recent
acquisitions, including
Rashid Johnson’s Standing
Broken Men and Kambui
Olujimi’s /ta/o as well as
works by Chris Ofili, Olga
de Amaral, and Elias Sime,
among others.

Japan’s Floating World
BAO
Through October 2, 2022

Kelvin and Eleanor Smith
Foundation Japanese Art
Galleries | Galleries 235A-B

A significant share of
paintings, prints, and
decorative arts made in
Japan from the mid-1700s
to mid-1800s captured
artists’ responses to urban
sex and entertainment
districts unofficially known
as the ukiyo G#t#), or
“floating world.” Images of
courtesans and musicians
vie with those of Kabuki
actors and a sumo wrestler
for attention in the spring
installation (through

July 10), while prints of
boating parties on the
Sumida River feature in the
summer installation July
12-October 2).

Creating Urgency: Modern
and Contemporary
Korean Art

Through October 23, 2022

Korea Foundation Gallery |
Gallery 236

The selected works on
view inspire a stimulating
conversation about Korean
artists and their expressive
urgency of defining and
shaping their diasporic
artistic identity. Two recent
CMA acquisitions, Suh Se
Ok’s Person and Haegue
Yang’s The Intermediate—
Naturalized Klangkoerper,
make their debut.

Escaping to a Better
World: Eccentrics and
Immortals in Chinese Art
Through November 6,
2022

Clara T. Rankin Galleries
of Chinese Art | Gallery
240A

These works narrate
stories through paintings,
porcelain, and metalwork
of legendary figures

who exhibit otherworldly
behavior and appearances
and embody our human
longing to escape this
world.

Ancient Andean Textiles
Through December 4,
2022

Jon A. Lindseth and
Virginia M. Lindseth, PhD,
Galleries of the Ancient
Americas | Gallery 232

Textiles from several
different civilizations that
flourished in the ancient
Andes, today mainly Peru,
are unified through their
uniqueness, whether

their rarity, complexity

of execution, or
luxuriousness of materials.

Native North America
Through December 4,
2022

Sarah P. and William
R. Robertson Gallery |
Gallery 231

This display features a
group of objects from the
Great Plains, including

a child’s beaded cradle,
several beaded or painted
bags, and a woman’s
hairpipe necklace, one of
the most memorable of
Plains ornaments.

Arts of Africa
Through December 18,
2022

Galleries 1O8A-C

Seventeen rarely seen or
newly acquired 19th- to
20th-century works from
northern, southern, and
western Africa have been
installed, supporting
continuing efforts to
broaden the scope of
African arts on view at
the CMA. Marking the first
inclusion of a northern
African artist in this space,
digitally carved alabaster
tablets by contemporary
Algerian artist Rachid
Koraichi make their debut.

Text and Image in
Southern Asia

August 26, 2022-March
5, 2023

Gallery 242B

IIluminated manuscripts
made for Jain and
Buddhist communities
include examples from
India, Sri Lanka, Nepal,
and Myanmar (Burma),
ranging from the 1100s to
1800s. Complementing
them are Buddhist and
Jain paintings, votive
sculptures, and vintage
photographs of temples
and sites that are major
repositories of medieval
manuscripts.

The Medieval Top Seller:
The Book of Hours
August 26, 2022-July 30,
2023

Gallery 115

Devotional books
containing daily and
special occasion prayers,
books of hours were
extremely popular in the
Middle Ages. As they were
intended primarily for lay
people, these precious
volumes are windows into
the medieval world and
the lives of their original
owners.

. FZ

Adut Akech 2019. Campbell Addy (British, b. 1993). Image courtesy of Aperture, New York,
2019. © Campbell Addy

The Cleveland Museum of Art is funded in part by residents of Cuyahoga County through a public grant from
Cuyahoga Arts & Culture.

These exhibitions were supported in part by the Ohio Arts Council, which receives support from the State of
Ohio and the National Endowment for the Arts.

H. and Julia Brouhard, Mr. and Mrs. Walter R. Chapman Jr., the Jeffery Wallace Ellis Trust in memory of

Lloyd H. Ellis Jr., Leigh and Andy Fabens, Michael Frank in memory of Patricia Snyder, the Sam J. Frankino
Foundation, Janice Hammond and Edward Hemmelgarn, Eva and Rudolf Linnebach, William S. and Margaret
F. Lipscomb, Bill and Joyce Litzler, Tim O’Brien and Breck Platner, Anne H. Weil, the Womens Council of the
Cleveland Museum of Art, and Claudia C. Woods and David A. Osage.

www.clevelandart.org 19

UPCOMING EXHIBITION

Impressionism to Modernism

Heather Lemonedes Brown
Virginia N. and Randall J.
Barbato Deputy Director
and Chief Curator

UPCOMING
EXHIBITION

Impressionism to
Modernism: The Keithley
Collection

September 11, 2022-
January 8, 2023

The Kelvin and Eleanor
Smith Foundation
Exhibition Hall

Mrs. Walter R. Chapman Jr.,

the Jeffery Wallace Ellis Trust

in memory of Lloyd H. Ellis Jr.,
Leigh and Andy Fabens, Michael
Frank in memory of Patricia
Snyder, the Sam J. Frankino
Foundation, William S. and
Margaret F. Lipscomb, Bill and
Joyce Litzler, Tim O’Brien and
Breck Platner, the Womens
Council of the Cleveland Museum
of Art, and Claudia C. Woods and
David A. Osage.

The Cleveland Museum of Art

is funded in part by residents

of Cuyahoga County through a
public grant from Cuyahoga Arts
& Culture.

This exhibition was supported
in part by the Ohio Arts Council,
which receives support from the
State of Ohio and the National
Endowment for the Arts.

20 2022 / Issue 2

The Keithley Collection

Impressionism to Modernism: The Keithley
Collection, one of this fall’s exhibitions, will cele-
brate the extraordinary gift and promised gift of art
from Clevelanders Joseph P. and Nancy F. Keithley
to the Cleveland Museum of Art. Announced in
March 2020, the gift of more than 100 works of
art is the most significant since the bequest of
Leonard C. Hanna Jr. in 1958. The exhibition,
which will take place in the Kelvin and Eleanor
Smith Foundation Exhibition Hall, will include the
Keithley’s gift and promised gift, allowing visitors
for the first time to enjoy the richness and breadth
of this collection in its entirety.

The Keithley’s collection focuses on
Impressionist, Post-Impressionist, and modern
European and American paintings. Among the
highlights are five paintings by Pierre Bonnard;
four each by Maurice Denis and Edouard Vuillard;
two each by Milton Avery, Georges Braque, Gustave
Caillebotte, Joan Mitchell, and Félix Vallotton;
and individual pictures of outstanding quality
by Henri-Edmond Cross, Vilhelm Hammershgi,
Henri Matisse, Pablo Picasso, Camille Pissarro, and
Andrew Wyeth. The Keithleys also collected works
on paper; among the drawings are six watercolors
of Maine by American modernist John Marin, five
drawings by Nabi artist Bonnard, and a seascape
in pastel by Eugéne Boudin, whose work inspired
the Impressionists. Also in the gift is a group of
highly realized 17th-century Dutch drawings and
watercolors depicting landscapes and flowers.

Additionally, the Keithleys collected Chinese ce-
ramics. Visitors will discover teaware and storage
vessels from the Southern Song dynasty as well as
majestic porcelains from the Yuan dynasty and
Ming dynasty. The Keithleys also had sustained
interest in contemporary Japanese ceramics and
collected examples by the finest potters of the
2oth century. In the exhibition, Asian ceramics
will be shown with Western paintings, drawings,
and prints to echo the harmonies created by the
Keithleys, who enjoyed juxtaposing works of art in
their collection through their Shaker Heights home.

From two decades of collecting, the works of
art selected by the Keithleys will complement and
enrich the museum’s collection. Guided by their
tastes and the advice of directors, curators, and

conservators at the CMA, the Keithleys acquired
works that build on strengths in the CMA’s col-
lection. This autumn’s exhibition will be supple-
mented by 25 works from the museum’s permanent
collection, inviting visitors to discover connections
between familiar works and objects on view for the
first time. For example, the Keithley’s gift includes
a landscape depicting Trouville, a town on the
coast of Normandy, by Impressionist Caillebotte.
This coastal view complements Portrait of a Man
by Caillebotte, a bequest from Clevelander Muriel
Butkin received in 2009. In addition, the Keithleys
have promised to give a still life of chicken, game
birds, and hares by the same artist. The three
paintings together—portrait, landscape, and still
life—compose the most fulsome representation
of the Impressionist’s work at any museum in the
United States.

Another of my favorite juxtapositions in the
exhibition is of two dining scenes by Bonnard. The
Dessert (1921), a gift of the Hanna Fund in 1949,
shows the artist’s companion Marthe listlessly
gazing out a window, accompanied by a young
man, Ari Redon, the son of the artist Odilon Redon,
and the family pet, a dachshund. In the Keithleys’
Fruit and Fruit Dishes (c. 1930), Bonnard once
again painted a dining room table set with a white
tablecloth that reflects a kaleidoscope of shimmer-
ing colors. This dining scene is absent of human
figures, but a cat and dog can be glimpsed at the
lower corners of the composition, animating the
afternoon meal.

The Keithleys’ gift has also vastly enriched
the museum’s holdings of works by Abstract
Expressionist Mitchell. Alongside her early paint-
ing Metro, given to the museum by Clevelander Mrs.
John B. Dempsey in 1969, visitors will discover two
later, monumental paintings by the artist: Gouise
(1966) and Some More (1980). The three works
together demonstrate Mitchell’s artistic evolution
and the ways in which her painting style became
increasingly vibrant, tactile, and bold. We invite
visitors to select their favorite works of art from
the Keithleys’ generous gift and to discover poetic
conversations between recent additions to the mu-
seum’s collection and familiar favorites.

Villas at Trouville 1884.
Gustave Caillebotte
(French, 1848-1894). Oil
on canvas; 66 x 81.3 cm.
Nancy F. and Joseph P.
Keithley Collection Gift,
2020.105

www.clevelandart.org 21

UPCOMING EXHIBITION

Tales of the City

Emily J. Peters

Curator of Prints and Drawings

UPCOMING
EXHIBITION

Tales of the City:
Drawing in the
Netherlands from Bosch
to Bruegel

October 9, 2022-January
8, 2023

The Kelvin and Eleanor
Smith Foundation
Exhibition Gallery

Desidia (Sloth) 1557.
Pieter Bruegel the Elder
(Netherlandish, 1526/27—
1569). Pen and brown ink on
paper; 21.4 x 29.6 cm. The
Albertina Museum, Vienna

The exhibition catalogue for
Tales of the City: Drawing in
the Netherlands from Bosch
to Bruegel was produced with
the generous support of the
Tavolozza Foundation.

Generous support is provided
by Randall J. and Virginia N.
Barbato.

Mrs. Walter R. Chapman Jr.,

the Jeffery Wallace Ellis Trust

in memory of Lloyd H. Ellis Jr.,
Leigh and Andy Fabens, Michael
Frank in memory of Patricia
Snyder, the Sam J. Frankino
Foundation, Bill and Joyce
Litzler, the Womens Council of
the Cleveland Museum of Art,
and Claudia C. Woods and David
A. Osage.

22 2022 / Issue 2

Dm».

During the Northern Renaissance, cities of the Low
Countries (present-day Belgium, the Netherlands,
and Luxembourg) offered vibrant and fertile
settings for all types of art making. Growing urban
populations, enriched by international trade,
attracted artists to Antwerp, Brussels, Haarlem,
and other cities starting around 1500 to provide
decoration for civic, religious, and domestic
spaces. These artists created large paintings or
sculptures but also played multifaceted roles as
designers of tapestries, stained glass, silverware,
prints, and even theatrical tableaux, relying on
drawing to facilitate many artistic endeavors.
Tales of the City presents the breadth and mastery
of Netherlandish drawing with over 80 works
from the Albertina Museum in Vienna, one of the
world’s finest drawing collections.

At the end of the 15th century, drawing was
an occasionally used medium, but around 1500,
Hieronymus Bosch and others began to draw to
prepare their commissions, provide records of
designs, and make autonomous sheets. Soon,

Works from one of the world’s finest drawing collections

artists developed new techniques using pen and
ink, colored chalks, and colored ink washes and
watercolors. An emerging class of wealthy, middle-
class urbanites began to appreciate drawings that
could be displayed in their homes. These changes
to the way drawings were made and utilized
resulted in an extreme diversity of experimental
types and techniques—from sketches to precious
works embellished with gold—all of which will be
displayed in the exhibition.

Changes also emerged in subject matter. As
the Protestant Reformation took hold in northern
Europe, artists sought alternatives to traditional
religious imagery. After 1550, in Antwerp, Pieter
Bruegel the Elder designed prints with a precise
pen and ink technique that met the demand for
innovative subject matter, often moralizing in tone.
Beautiful, intricate, at times bizarre or comical,
Netherlandish drawings offer a glimpse into the
working methods and innovations that led to the
adornment of important European Renaissance
cities.

VIDEO PROJECT RQOM

Global Feminisms + Video Art

Nadiah Rivera Fellah
Associate Curator of
Contemporary Art

INSTALLATION

Global Feminisms +
Video Art

August 7-December 4,
2022

Video Project Room |
Gallery 224B

(Entlastungen)
Pippilottis Fehler /
(Absolutions) Pipilotti’s
Mistakes (installation view)
1988. Pipilotti Rist (Swiss, b.
1962). Video, color, sound;
11:17 min. Louis D. Kacalieff,
MD, Fund, 2020.272

Gestures of dissonance

Video art emerged in the 1960s as an open-ended
form of art making that was an alternative to
traditional media. Feeling unconstrained, artists
experimented with this time-based medium alone
in their studios, out in the world, or through crit-
ical reconfigurations of archival footage. Global
Feminisms + Video Art, on view in the CMA’s Video
Project Room from August 7 to December 4, 2022,
features three global, feminist artists’ work from
the 1970s through the 1990s who have had signif-
icant historical impact on the video art medium
and contemporary art in general. In each of the
videos, artists use the human body to gesture to
social, political, and psychological dissonance in
ways that are at once shocking, unnerving, and
humorous.

Brazilian artist Lygia Pape’s 1975 Eat Me
references the Brazilian cultural metaphor of
anthropophagy, or cannibalism of the “other”
to gain energy, and uses this as a metaphor for
Brazilians’ ability to digest European culture and
transform it into something original and new.
The video features a close-up of a man’s mouth,
eating, chewing, and spitting out fragmented ob-
jects. Both mesmerizing and repulsive, the video
is a commentary on the violence of the Brazilian
dictatorship at the time of its creation.

Swiss artist Pipilotti Rist’s 1988 Absolutions,
Pipilotti’s Mistakes juxtaposes images of the artist
collapsing to the ground with bursts of scrambled
electronic distortion, a common glitch in analog
TV. The piece explores the imperfections of the
video machine and fuses it with Rist’s own per-
sonal mistakes, creating a captivating, rhythmic
work of art on screen.

Lastly, American artist Patty Chang’s 1998
Melons (At a Loss) shows the artist mutilating
and eating a melon as a surrogate breast while
discussing the death of her aunt, a performance
that is both absurd and subverts expectations of
exoticized female bodies. Her performance for the
camera transgresses familiar expressions of grief
and the expected language of television. Through
her actions and speech, viewers encounter a de-
scriptive narrative and experimental performance
of endurance that, in under four minutes, abruptly
ends.

Each artist explores history, contemporary
issues, and cultural identities from a feminist
perspective. These three short videos capture the
experimental approaches to the video medium
across three decades that have continued to shape
the multimedia landscape of contemporary art.

www.clevelandart.org 23

IS THE GALLERIES NOW

Armor Loan Installation

Gerhard Lutz
Robert P. Bergman
Curator of Medieval Art

Amanda Mikolic
Curatorial Assistant

INSTALLATION
Riistkammer Armor Loans
Through 2024

Jack, Joseph and Morton
Mandel Armor Court |
Galleries 210A-C

Light Armor of Alfonso
II d’Este (1533-1597)

c. 1550-60. Northern

Italy, Milan? Steel, etched
with gold. Lent by the
Kunsthistorisches Museum,
Hofjagd- und Rustkammer,
Vienna.

24 2022 / Issue 2

Four significant suits from Vienna

In May, the museum was pleased to welcome four
historically important suits of armor from the
Ristkammer collection at the Imperial Habsburg
Armouries, now part of the Kunsthistorisches
Museum in Vienna, on a long-term loan to our
Jack, Joseph and Morton Mandel Armor Court.
This collaboration has been ongoing since 2014,
thanks to the generous support of the Jack, Joseph
and Morton Mandel Foundation. The main works

of the collections of the Riistkammer date back to
the 1500s, when the Habsburgs were at the peak
of their power. Not only had they held the throne of
the Holy Roman Empire without interruption since
1440, but they also had successively taken over
the kingdoms of Bohemia and Hungary, as well
as the Netherlands, Spain, and Portugal and their
colonies in the New World. During this period,
one of the most important collections of armor in
the world developed, which has been
preserved in Vienna to this day. The
quality of our gallery is increased by
these pieces of exceptional and rare
armor, which are no longer available
on today’s art market. In addition,
our audience is offered insight into
the special qualities of the Viennese
collections.

One of the suits on loan was made
for the personal use of Maximilian I
(1459-1519), one of the most famous
members of the Habsburg family and
a great enthusiast of knightly skills.
He sponsored some of the most ex-
travagant tournaments of his era and
was a noted patron of fine armor. The
suit, likely made for the festivities
surrounding his coronation as King of
the Romans in 1486, bears the mark
of Lorenz Helmschmied, a member of
one of the foremost families of armor-
ers in late medieval Europe. Known
as a Stechzeug, this highly specialized
suit was fashioned for a specific ver-
sion of the joust known as the Stechen,
or joust of peace, which used a blunt-
ed lance. Some versions of the Stechen
eliminated the tilt barrier, the wall
separating two mounted combatants.
Without this barrier, the possibility
of dangerous collisions between rid-
ers necessitated the development of
specialized heavy armor to protect
the contestants. A blind shaffron was
needed to make sure the horse did not
deviate from its course out of fear of
colliding with the oncoming opponent.

cas

*”
3

The armor also features a “frog-mouthed” helmet,
inside of which would have been an additional
padded helmet to help further protect and immo-
bilize the wearer’s head.

Another suit was once worn by Alfonso II
d’Este (1533-1597), the last duke of Ferrara and
brother-in-law to the Habsburg collector Archduke
Ferdinand II. It was likely commissioned for a spe-
cial ceremonial occasion and is a superb example
of Italian craftsmanship. Armor followed the fash-
ion trends of clothing, so, at that time, rounded
forms were favored, mimicking puffed and slashed
britches and hose. Also popular was a high-cut
neckline that gently flared at the base, a feature
that can be seen in this suit in steel. Although
the use of armor in the battlefield was waning in
the 1500s, the prestige connected with wearing it
continued. Highly decorated suits such as this one
for the duke with a great deal of surface ornamen-
tation were intended principally to convey rank
and authority as well as personal artistic taste.
The duke even had his portrait done while wearing
this suit of armor.

These extraordinary suits of armor as well as
heavy jousting armor (Rennzeug) for King Philip I
of Castile (1478-1506) and a child’s suit that once
belonged to a young Andreas of Austria (1558-
1600) are on view now through 2024. We would
like to thank the Mandel Foundation for generously
supporting these loans and hope you stop in the
Jack, Joseph and Morton Mandel Armor Court to
admire them on your next museum visit.

Jousting Armor
(Stechzeug) of Holy
Roman Emperor
Maximilian I (1459-1519)
c. 1485. Workshop of Lorenz
Helmschmied (German,
active Augsburg, 1477—
1515). Steel and leather. Lent
by the Kunsthistorisches
Museum, Hofjagd- und
Rustkammer, Vienna.

www.clevelandart.org 25

NEW ACQUISITION

Why Born Enslaved!

William H. Robinson
Senior Curator of Modern Art

Key Jo Lee

Director of Academic Affairs
and Associate Curator of
Special Projects

ON VIEW
Why Born Enslaved!

Sarah S. and Alexander M.
Cutler Gallery | Gallery 201

1. Théophile Gautier, “Salon de
1869: Sculpture,” Journal Officiel
de l’Empire Francais (1869).

The exact version discussed by
Gautier is unclear. The foremost
French sculptor of the Second
Empire (1852-1870), Carpeaux
received major commissions
from Emperor Napoleon Ill and
the French government. He
studied at the Ecole des Beaux-
Arts in Paris and won the Prix de
Rome in 1854. He is best known
for his sculpture The Dance,
commissioned in 1868 for the
facade of the Paris opera.

2. Fictions of Emancipation:
Carpeaux Recast, exhibition at
the Metropolitan Museum of Art,
New York, March 10, 2022-March
24, 2023.

3. Carpeaux’s views on race and
abolition were likely influenced
by his friendship with author
Alexandre Dumas. Dumas

was a vociferous abolitionist
and advocate for women’s
emancipation. It was widely
known that Dumas’s great-
grandmother was a former
African slave from Haiti. Slavery
was the subject of the Brussels
Anti-Slavery Conference of
1889-90 and remained an issue
in the early 20th century.

26 2022 / Issue 2

The museum acquires a masterpiece

Jean-Baptiste Carpeaux’s stunning sculpture Why
Born Enslaved! (1868) is one of the most powerful
expressions of abolitionist sentiment in the visual
arts. It depicts a woman of African descent bound
by ropes and looking defiantly upward. The ropes
press into her breasts, and her torn blouse alludes
to the violence responsible for her condition. After
viewing a version of the work at the Paris Salon of
1869, art critic Théophile Gautier wrote:

The African woman, with the rope that ties
her arms at the back and crushes her breasts,
raises to the sky the only thing that is left free
to a slave, the eyes, with a look of despair and
silent rebuke, a hopeless cry of vindication, a
dismal protest against destiny. This is a work of
rare vigor, in which ethnographic precision is
dramatized through a profound painful feeling.!

Carpeaux conceived the sculpture around the
same time as his large fountain sculpture, Four
Corners of the World Holding the Celestial Sphere
(1872), commissioned by Baron Haussmann for the
Luxembourg Gardens in Paris. Carpeaux used the
same model for the allegorical figure of Africa in
the fountain as for Why Born Enslaved! but with an
important difference: the broken shackle around
her ankle in the fountain sculpture indicates that
she is a former slave released from bondage. While
the woman’s identity is unknown, archival notes
suggest she may have been a former slave from the
Antilles who migrated to France after emancipa-
tion; a recent study speculates that she may have
been Louise Kuling, a free woman originally from
Virginia.

Why Born Enslaved! is presented with explosive
shapes and dramatic silhouettes. The original poly-
chromed surfaces are covered with complex, nu-
anced hatchings and subtle modeling that enhance
the figure’s expressive power. While museums in
the United States and Europe own other versions,
surface marks and provenance history indicate
the CMA’s is the master model from which others
were produced. The sharp details and complex
polychromed surface, skillfully patinated to con-
vey the model’s ethnicity, support the view that the
museum’s recently acquired sculpture is the finest
known version of the subject.

Why Born Enslaved! was praised by contem-
poraries for addressing one of the most pressing
issues of its era. Although slavery was abolished in
France in 1848, it remained a hotly contested issue
in Carpeaux’s time as France expanded its colonies
into North Africa, where the practice continued,
just as slavery remained legal or tolerated in Brazil
and elsewhere in the world. The American Civil
War gave additional inspiration to the abolitionist
struggle to eradicate the brutal practice.’

With the acquisition of Why Born Enslaved! we
have a unique opportunity to recenter Carpeaux’s
subject through interpretation and new scholar-
ship. The unnamed model who became the living
embodiment of enslavement and whose history and
voice are largely lost to the archival record should
be the locus of our attention. One way to broaden
the context for Carpeaux’s depiction is by looking
to other period portraits of Black women to which
Carpeaux would certainly have been privy, such
as Portrait of Madeleine, originally Portrait d’une
femme noire (1800), by Marie-Guillemine Benoist.
The change in title is especially notable because it
demonstrates the work in progress to identify or
otherwise bring to bear the stories of unnamed sit-
ters in the histories we narrate. Through archival
research, it was found that Madeleine was a freed
woman painted between the first abolition of slav-
ery in the French colonies in 1794 and Napoleon’s
reinstatement of it in 1804. Why Born Enslaved!
provides the CMA an opportunity to bring schol-
ars on the cutting edge of archival research for
discussions on the challenges and rewards of such
research.

By highlighting Portrait of Madeleine’s place
in a lineage of images of Black women, in contem-
porary scholarship, and in museum practices that
seek to name or otherwise identify sitters like her,
and by providing a forum for complex conversa-
tions on artworks that provoke painful histories,
we will show that we understand the importance of
featuring challenging artworks of great historical
relevance to reimagine how we see today.

Why Born Enslaved!
1868. Jean-Baptiste
Carpeaux (French, 1827—
1875). Plaster, original
polychromed surface; h. 67
cm. Leonard C. Hanna Jr.
Fund, 2022.2

www.clevelandart.org 27

COLLECTION

Four Curators, Four Favorites

Experiencing the CMA’s permanent collection

ON VIEW
Sleep and Death
Cista Handle

Barbara S. Robinson
Gallery | Gallery 102D

Sleep and Death Cista
Handle 400-375 BC. Italy,
Etruscan. Bronze; 14 x 17.4

cm. Purchase from the J. H.
Wade Fund, 1945.13

28 2022 / Issue 2

It isn’t difficult to find a favorite object within the CMA’s collection.
Artworks stand out to us in unique ways for their place in history, their
ideas, or their colors and forms, and each new season can change
what draws our attention. Explore how four CMA curators are currently
experiencing their favorite pieces from our collection in the brief

meditations below.

SETH PEVNICK
CURATOR OF GREEK AND ROMAN ART

This small bronze sculpture stands out for its del-
icate form and somber message. Cast in several
pieces, then joined together and placed atop a
curved rectangular base, it comprises two winged,
helmeted figures carrying the limp, nude body ofa
third. Functionally, these figures once served as a
handle on the lid of a cista, a type of sheet-bronze
container often decorated with incised figures and
separately cast feet.

But even as we wonder about a potentially larger
decorative program, this sculptural group stands
nearly complete, lacking just one thumb of the fall-
en figure. The composition calls to mind the main
scene on a famous Greek red-figure vase painted
by Euphronios, the so-called Sarpedon krater.
There, and likely here, the winged figures, clad in
armor, represent Sleep and Death (or Hypnos and

Thanatos), conveying a corpse from the battlefield
toward proper burial. The body probably belongs
to either Sarpedon or Memnon, two great warriors
slain at Troy (by the Greek fighters Patroklos and
Achilles, respectively).

Such questions of identity, however, may matter
less than the pathos of this figure. For this is an
Etruscan object, created in ancient Italy rather
than Greece, several generations after the afore-
mentioned vase. And just as the tales now thought
of as Greek (from Homer and others) also reso-
nated elsewhere in the ancient world, so too do
they retain their relevance today. Sadly—but also
eloquently and timelessly—this dramatic figural
group still speaks to the gravity and inevitable
losses of war.

ON VIEW
Gray and Gold

Hammond Hemmelgarn
Family Gallery |
Gallery 226B

Gray and Gold 1942. John
Rogers Cox (American,
1915-1990). Oil on canvas;
116x162 %12.5:om. Mr.

and Mrs. William H. Marlatt
Fund, 1943.60

CORY KORKOW
CURATOR OF EUROPEAN PAINTINGS AND SCULPTURE, 1500-1800

John Rogers Cox’s Gray and Gold (1942) reflects
the artist’s hometown, Terre Haute, Indiana, and
alludes to fascism’s threat to American democracy
during World War II. It’s one of my favorites, how-
ever, because it feels like home. Among his earliest
works in oil, the painting shows Cox steeped in the
visual vocabulary of the rural Midwest, conveying
its peculiar desolate beauty like a seasoned land-
scape painter. Gray and Gold transports me to an
intersection of country road on the great plains
of South Dakota dividing the prairie into culti-
vated fields and rolling hills for grazing livestock.
Stepping into the painting and continuing down the
central road would lead to my parents’ home.
Mesmerized by fields of swaying grain, I

understand the artist’s motivation: “I simply
wanted to paint a lot of wheat.” Cox didn’t paint
the wheat in uniform yellow blocks but noticed the
way the wind moves its golden stalks in undulating
waves that gleam and darken with the changing
light. The artist described the soft, graded edge of
a dirt road whose loose gravel median is echoed
in the raised, impastoed surface. I imagine cattle
escaping through broken fence, grazing in ditch-
es along miles of barbed wire, and fence posts
bleached silvery gray by the sun. Cox captured the
awe-inspiring sensation of watching a storm rollin
on the prairie, when wide open spaces allow one to
observe vast swaths of cloud, wind, and thunder, as
bolts of lightning advance in slow motion.

www.clevelandart.org 29

Mirrors & Eyes 1994.
John L. Moore (American, b.
1939). Oil on canvas; 203.2 x

172.7 cm. Gift of Jane Farver,

2009.437. © John L. Moore

30 2022 / Issue 2

ON VIEW
Mirrors & Eyes

Julia and Larry Pollock
Focus Gallery | Gallery
010

KEY JO LEE
DIRECTOR OF ACADEMIC AFFAIRS

AND ASSOCIATE CURATOR OF SPECIAL PROJECTS

As an interdisciplinary scholar of art history and
African American studies, I have given consider-
able thought to how artists and writers visualize
and historians contextualize the transatlantic
slave trade, or Middle Passage. Therefore, Mirrors
& Eyes (1994) by Cleveland-born John L. Moore,
with its moody, reflective approach to the history,
memory, and materiality of the Middle Passage,
is one of my favorite works on view. Three ovoid
shapes, two framed in gold, float atop a dusky cur-
rent, disturbing the nearly black horizontal ripples
that cascade across a murky sea as a fall of bright
blue arches from the upper center of the compo-
sition. The gold-framed ovals can be interpreted
as mirrors or other reflective surfaces, while the
dark oval at the bottom of the canvas might more
readily be interpreted as a portal.

The artist has said that “all of my work is in-
formed by memories. Memories of things that I
have experienced or were told to me; things that
I have read or dreamed.”! America’s devastating
history of enslavement isn’t easily remembered or
told. This large-scale painting of oil on canvas vi-
sualizes the mechanics of personal and collective
memory and its attendant forgetting and creative
imaginings so beautifully that I had to include it
in my first exhibition at the CMA, Currents and
Constellations: Black Art in Focus, on view through
June 26, 2022.

1.Don Desmett, “In the Shadows,” in /n the Shadows: Contemporary
Artists and Obsessive Memory, exh. cat. (Kalamazoo, MI: James W. and
Lois |. Richmond Center for Visual Arts at Western Michigan University
and Albertine Monroe-Brown Gallery, 2014).

UPCOMING
EXHIBITION

China through the
Magnifying Glass:
Masterpieces in
Miniature and Detail

December 4, 2022-
February 6, 2023

Julia and Larry Pollock
Focus Gallery | Gallery
010

Figure of a Daoist
Immortal 1700s. China,
Qing dynasty (1644-1911).
Boxwood with colored ivory
base; h. 13.5 cm. Severance
and Greta Millikin Purchase
Fund, 1976.60

CLARISSA VON SPEE
CHAIR OF ASIAN ART, JAMES AND DONNA REID CURATOR OF CHINESE ART,
AND INTERIM CURATOR OF ISLAMIC ART

The CMA’s Chinese collection has many small-
scale objects and miniatures. This finely carved
sculpture is made of precious boxwood, a hard
wood with a fine, even texture that comes from
small and slow-growing evergreen trees found in
southeast China and as far as Europe. The Western
term boxwood (huangyang mu) probably derives
from the fact that this wood would have mostly
been used for making small boxes but rarely for
large-scale furniture.

The figure presumably depicts Daoist Immortal
He Xiangu, one of the Eight Immortals. Legend has
it that she lived during the Tang dynasty (618-906)
and eventually ascended to heaven as an immortal.
Here, she has her hair tied in a chignon. Sitting ina
log raft, she floats swiftly through water, the swirl-
ing waves made from carved ivory dyed green. He

Xiangu holds a ruyi scepter—symbolizing wisdom
and good fortune. The bamboo basket in front of
her contains stalks of bamboo and mushrooms,
and behind her sits a double gourd, all attributes
of an immortal.

I discovered the little, shiny, caramel-brown
boxwood sculpture in storage when I was hunting
for objects for my next exhibition. Its small size and
exquisite craftsmanship mesmerized me. It will
be a highlight in the upcoming exhibition, China
through the Magnifying Glass: Masterpieces in
Miniature and Detail (December 4, 2022—February
26, 2023) on view in the Julia and Larry Pollock
Focus Gallery.

www.clevelandart.org 31

Traveling Artworks

Follow the CMA's collection around the world over the past year

32 2022 / Issue 2

The museum community was no stranger to
pandemic-required adaptations beginning in
2020. Doors closed, exhibitions were canceled or
delayed, and international and domestic art ship-
ments came to a halt. Many anticipated loans from
the Cleveland Museum of Art’s collection that had
been approved for exhibitions around the world
were withdrawn or postponed. But museums are
resilient. Exhibitions were rescheduled, museums
reopened, and the international museum commu-
nity figured out ways to continue sharing our col-
lections despite shipping and travel restrictions.
As demonstrated by the statistics below and
map on the following pages, fiscal year 2022 Vuly
I, 2021-June 30, 2022) was a very active time for
the CMA’s collection, and we are back to pre-pan-
demic levels of participation in exhibitions around
the world. Last year, the CMA’s artworks traveled
to Europe and Asia as well as extensively through-
out the US. We participated in major blockbuster
exhibitions and smaller scholarly projects. A wide
variety of the CMA’s collection was represented
through loans of paintings, sculptures, hanging
scrolls, portrait miniatures, decorative arts, tex-
tiles, and works on paper. We had a remarkably
busy year of sharing these pieces, and it has been
a great pleasure to offer our terrific collection with
museum audiences worldwide once again.

INTERNATIONAL HIGHLIGHTS

The CMA sent 130 artworks in 6 exhibitions to 47
cities, 9 countries (including the US), and 20 states.

1. London, United Kingdom, in Fabergé: Romance to
Revolution at the Victoria and Albert Museum (Nov 20, 2021-
May 8, 2022).

Imperial Red Cross Easter Egg 1915. Peter Carl Fabergé
(Russian), Henrik Wigstrém (Russian), House of Fabergé
(Russian). Gold, silver gilt, enamel, glass, ivory. The India Early
Minshall Collection, 1963.673

2. Seoul, South Korea, in Monk Artisans of the Joseon Dynasty
at the National Museum of Korea (Dec 6, 2021—Mar 6, 2022).

The Eight Hosts of Deva, Naga, and Yakshi 1454.
China, Ming dynasty. Hanging scroll; ink and color on silk.
John L. Severance Fund, 1973.70.2

1. London, United Kingdom

2. Seoul, South Korea

3. Paris, France, in At the Source of Monet's Water Lilies: The
Impressionists and Decoration at the Musée de 1'Orangerie
(Mar 3—Jul 11, 2022).

Spring Flowers 1864. Claude Monet (French). Oil on fabric.
Gift of the Hanna Fund, 1953.155

4. Lausanne, Switzerland, in TRAIN. ZUG, TRENO. TREN: At
the Intersection of Painting, Photography, and Design at the
Cantonal Museum of Fine Arts (Jun 17-Sep 25, 2022).

Hills, South Truro 1930. Edward Hopper (American). Oil
on canvas. Hinman B. Hurlbut Collection, 1931.2647. © Heirs
of Josephine N. Hopper / Licensed by Artists Rights Society
(ARS), NY

6. Amsterdam, Netherlands

5. Urbino, Italy, in Francesco di Giorgio e Federico da
Montefeltro: Urbino, Crossroads of the Arts (1475-1490) at the
Galleria Nazionale delle Marche (Jun 23-Oct 9, 2022).

Portrait of Pope Sixtus IV della Rovere early 1500s.
Attributed to Pedro Berruguete (Castilian). Oil on wood,
transferred to canvas. Holden Collection, 1916.815

6. Amsterdam, Netherlands, in Forget Me Not at the
Rijksmuseum (Sep 30, 2021—Jan 16, 2022).

Portrait of Machtelt Suijs c. 1540-45. Maerten van

Heemskerck (Dutch). Oil on wood. Leonard C. Hanna Jr. Fund,

1987.136

4. Lausanne, Switzerland

7. Toronto, Ontario

5. Urbino, Italy

8. Madrid, Spain

7. Toronto, Ontario, in Picasso: Painting the Blue Period at the
Art Gallery of Ontario (Oct 9, 2021-Jan 5, 2022).

Nude Woman Standing, Drying Herself 1891-92. Edgar
Degas (French). Lithograph. Dudley P. Allen Fund, 1954.361

8. Madrid, Spain, in The Magritte Machine at the Thyssen-
Bornemisza National Museum (Sep 14, 2021—Jan 30, 2022).

The Secret Life 1928. René Magritte (Belgian). Oil on
canvas. Bequest of Lockwood Thompson, 1992.298. © C.
Herscovici / Artists Rights Society (ARS), New York

www.clevelandart.org 33

1. London, United Kingdom, in Fabergé: Romance to
Revolution at the Victoria and Albert Museum.

Imperial Red Cross Easter Egg 1915. Peter Carl Fabergé,
Henrik Wigstrém, House of Fabergé. The India Early Minshall
Collection, 1963.673

2. Seoul, South Korea, in Monk Artisans of the Joseon Dynasty
at the National Museum of Korea.

The Eight Hosts of Deva, Naga, and Yakshi 1454.
China, Ming dynasty. John L. Severance Fund, 1973.70.2

3. Paris, France, in At the Source of Monet's Water Lilies:
The Impressionists and Decoration at the Musée de !'Orangerie.

Spring Flowers 1864. Claude Monet. Gift of the Hanna
Fund, 1953.155

4. Lausanne, Switzerland, in TRAIN. ZUG. TRENO. TREN:
At the Intersection of Painting, Photography, and Design at
the Cantonal Museum of Fine Arts.

Hills, South Truro 1930. Edward Hopper. Hinman B.
Hurlbut Collection, 1931.2647. © Heirs of Josephine N. Hopper
/ Licensed by Artists Rights Society (ARS), NY

5. Urbino, Italy, in Francesco di Giorgio e Federico da
Montefeltro: Urbino, Crossroads of the Arts (1475-1490) at the
Galleria Nazionale delle Marche.

Portrait of Pope Sixtus IV della Rovere early 1500s.
Attributed to Pedro Berruguete. Holden Collection, 1916.815

6. Amsterdam, Netherlands, in Forget Me Not at the
Rijksmuseum.

Portrait of Machtelt Suijs c. 1540-45. Maerten van
Heemskerck. Leonard C. Hanna Jr. Fund, 1987.136

7. Toronto, Ontario, in Picasso: Painting the Blue Period at
the Art Gallery of Ontario.

Nude Woman Standing, Drying Herself 1891-92.
Edgar Degas. Dudley P. Allen Fund, 1954.361

8. Madrid, Spain, in The Magritte Machine at the
Thyssen-Bornemisza National Museum.

34 2022 / Issue 2

SUPPORTER STORY

Katharine Lee Reid

36 2022 / Issue 2

You have a unique legacy of supporting the CMA
as former director (2000-2005), following your
father, Sherman Lee (1958-1983). Why do you
support the institution as generously as you do?

The CMA represents an outstanding example
of American generosity and philanthropy. Art
museums in the US are unusual, as they result from
the focused vision of communities like Cleveland.
Individuals give art, funds, or both to make a
meaningful place for fellow citizens. Importantly,
the CMA, like public libraries, has always been free.
From the beginning, the founders wanted to make
the best works of art from a broad range of cultures
available for all to see, learn from, and enjoy. That
focus, strengthened with years of generosity, has
resulted in a singular art museum notable for the
quality of its holdings and respected around the
world. Further, the museum is the creation not of
the state or an aristocracy but of people who have
lived and live now in Cleveland.

Considering your early experiences at art
museums, how did the CMA shape your interest
in art as a child and your future career?

Although my first museum experiences were in
Detroit, Seattle, and Japan, in Cleveland in 1952,
the institution's full embrace came over me. I
remember seeing the Guelph Treasure—European
bejeweled objects from the Middle Ages—in the
basement’s hushed galleries, protected in case of a
WWII attack. Through my childhood, my sister and
I took Saturday classes at the CMA, which my father
taught in the 1990s as a first paying art job during
graduate school at Western Reserve University.
Those Saturdays made a vivid impression.

I remember trying to copy Peter Paul Rubens’s
portrait of his wife, Isabella Brant, and realizing
her “knowing look” could only have been a wife's.
My sister, Margaret Bachenheimer, now a respected
artist in North Carolina, remembers learning to
paint skies with watercolors. A show of Vassily
Kandinsky paintings blew my mind in seventh
grade. Responding on paper to those brilliant
abstractions was humbling and inspiring.

We often followed our father around as he
showed us what he was considering adding
to the collection or what was being treated in
conservation. The museum was not work but an
endless series of interests and events, We learned
from his pronouncements about professional
museum behavior: In adding to the collection,
look for the best. Don’t settle for a lesser example
to represent a movement or a culture. Buy ahead
of the market what is not yet fashionable. Consult
every expert and specialist possible. If it is stolen,
don’t buy it.

I remember wonderful art dealers visiting and
treating us to marvelous feasts at the Wade Park
Manor. One dealer had an uncanny knowledge
of when to call Dad—whenever we were sitting
down to dinner. Dad always took the call as dinner
cooled, but he got many great Asian pieces from
that man, including the CMA’s Northern Song
dynasty Streams and Mountains without End.

As director, you launched the building project
and capital campaign. Ground was broken under
your tenure to transform the museum into a
place of and for the community. Why was this
important to you? What was it like to finally see
the museum transformed?

The raising of interest and funds to add to the CMA
was started under my predecessor, Bob Bergman,
and it was part of why the role appealed to me.
Completing an expansion plan at the Virginia
Museum of Fine Arts made the possibility of doing
so at the CMA an extraordinary opportunity. The
existing buildings had housed the collection, but
navigating exhibits was a challenge. Planning for
the visitor experience had been a focus in the art
museum field since the 1980s, when I participated
in building planning at the Art Institute of Chicago.

Cleveland’s advantage was a collection of
remarkable masterworks, like an executive
summary of world culture relevant to a broad
public. But we needed a less academic spirit and
a bit more comfort. With architect Rafael Vinoly,
a highly engaged senior staff, and the enthusiastic
support of trustees, we planned to meet that goal,
though we struggled to believe sacrificing an earlier
building would serve the collection and visitor
experience. To everyone’s credit, after months of
visiting other museums and countless meetings,
the trustees made the brave decision to go forward,
the first $100 million was raised, and ground was
broken. I retired in 2005, and the following years
saw final planning and construction.

The ultimate result was remarkable. The atrium
felt like a grand Italian piazza with activities all
around: special exhibitions, galleries, dining,
shopping, audio tours. The museum’s interior amid
the parkland and surrounding neighborhood helped
me concentrate and feel comfortable while looking
at art. The galleries of the original classical building
felt right for their collections. The remarkable Maltz
Family Foundation ARTLENS Gallery made the
CMA a leader in technology for accessible lessons
about the collection and exhibitions.

The building adapts as use and activities evolve.
The memory of the old interior garden court (the
European baroque gallery now) signifies how the
museum has changed in scale and activity. On
Sundays, one could once hear organ music from
the plant-filled court through the galleries. The
museum, its collections, and its audience have
grown and evolved. It is fascinating, exciting,
sobering, and ever changing.

Your expertise as an art historian includes
17th-century European paintings, 2oth-century
painting and sculpture, and late r9th- and 2oth-
century American and European decorative arts.
What are your favorite works in the collection?

I still go back to Rubens’s Portrait of Isabella Brant
like a good book to which one returns from time
to time. But this is hardly a fair question, when
everything at the CMA is so good! I love the early
Christian galleries and the Coptic textile /con of the
Virgin and Child. The colors of that sixth-century

marvel are as vivid as centuries ago, and, the last
time I saw it, I found expressions on the apostles
I’d not seen before. I also have favorite drawings,
such as the sheets by Jasper Johns among works
in many media called Numerals. which capture his
painterly, rich style in a varied and humorous way
that transcends what might appear an exercise.
Portrait of Hott6 Enmyo Kokushi and Portrait of
the Mother of Hotto Kokushi, those sobering wood
sculptures, have also stopped me in my tracks
many times.

You have worked at other esteemed institutions in
your career. What makes the CMA special?

The noble classical building overlooking Wade
Lagoon signals the caring and entrepreneurial
dedication of a range of people—founders, curators,
staff, directors—who have “kept their eye on the
ball,” as we say in tennis. They have grown the
institution with creativity and consistency for
over a century. Such American art museums are
reflections of their communities—collections
formed by community members, products of state
funding, reflections of a major donor’s interests,
or specialists in the art world. Cleveland’s is a
comprehensive art museum, distinctive from much
larger encyclopedic museums like the Metropolitan
Museum of Art. Across the board, Cleveland’s
works can stand toe-to-toe with the best of other
art museums.

You are a member of the Leadership Circle,
though based in North Carolina. What makes
your membership with the CMA important to you
despite the distance?

It is important to me and my family to feel
connected to the museum that formed our lives,
important to receive publications and keep up
with exhibitions, achievements of staff, and the
remarkable generosity of donors and patrons. The
distance doesn’t matter much! Works of art are
ingrained in our thinking and fantasies. The CMA
is the kind of wonderful thing that can happen
when the American art museum serves as a model
of and for its communities.

www.clevelandart.org 37

SAVE THE DATE

Summer Arts Fest: Dance with Giants will include larger-than-life art installations by
local artists. Attendees can join a host of hands-on activities: oOush a 10-foot-tall rhi-
noceros onto a printing press to create a commemorative poster, add a suction cup
to an oversize orange octopus, dance with magical mushroom performers, and take
photos with a giant inflatable robot puppy. There is something for everyone in the
family. Live music will be featured on the Kulas Community Stage, and food and bev-
erages will be available for purchase.

SAVE THE DATE

funy aha. Sunday, September 25, 2022, 2:00 p.m.
Pino ts, Bote, Photo © Gartner Auditorium
2022 Museum ofFine Ars, FREE; ticket required

Boston

Phoebe Segal
Mary Bryce Comstock Curator of Greek and Roman Art, Museum of Fine Arts, Boston

Phoebe Segal, the Mary Bryce Comstock Curator of Greek and Roman Art at the Museum of Fine
Arts, Boston, presents the museum's newly renovated gallery devoted to early Greek art, one of the
greatest strengths of its world-renowned antiquities collection. Step back in time to the days of the
emergence of the Greek city-state, and discover the innovation and creativity of early Greek artists
responding to local traditions and new ideas from abroad. Learn about the design strategy and
digital media assets that transport visitors to ancient Greece and make the past present.

www.clevelandart.org 39

EDUCATION

Play at CMA!

Family resources and activities for an art-filled summer

Sydney Kreuzmann
Manager of Youth and
Family Engagement

WHAT ARE FIVE
THINGS YOU SEE?

NAME FOUR
THINGS YOU CAN
TOUCH.

WHAT THREE
THINGS CAN YOU
HEAR?

ARE THERE TWO
THINGS YOU CAN
SMELL?

WHAT ONE THING
MIGHT YOU TASTE?

All education programs at the
Cleveland Museum of Art are
underwritten by the CMA Fund
for Education. Generous annual
support is provided by Gail
Bowen in memory of Richard

L. Bowen, Cynthia and Dale
Brogan, Mr. and Mrs. Walter R.
Chapman Jr., the Jeffery Wallace
Ellis Trust in Memory of Lloyd

H. Ellis Jr, the Sam J. Frankino
Foundation, Florence Kahane
Goodman, Janice Hammond

and Edward Hemmelgarn, Eva
and Rudolf Linnebach, Pamela
Mascio, Sally and Larry Sears, the
Thompson Family Foundation,
and the Womens Council of the
Cleveland Museum of Art.

40 2022 / Issue 2

Are you looking for fun, engaging activities to do
with your family this summer? The museum is
excited to offer a fresh series of free in-gallery re-
sources, tips, and tricks for talking with kids about
art.

Kick off your visit by picking up your family dis-
covery pack at the ticketing or information desks.
These “tool kits,” generously supported by the
Reinberger Foundation, are designed to encourage
children’s curiosity and to empower caregivers to
feel confident in initiating great art experiences
with their children. Each wearable pack is filled
with collectible art cards that spotlight exciting
themes and artworks to visit throughout the mu-
seum, along with playful, hands-on supplies for
tactile learners. Materials may include notebooks,
pencils, a magnifying glass, colorful pipe cleaners,
and more. On each art card, you'll find creative
questions and activity prompts to try together as
a family.

For example, a card featuring the landscape Vale
of Kashmir by Robert S. Duncanson asks you to
imagine you've been transported inside the paint-
ing, inviting you to use all your senses to take in the
surrounding world. Prompts include the questions
at the left of this page.

Once you go through each step, you are invited
to use all the aspects named to create your own
story. For example, Duncanson’s works were often
inspired by stories, poems, and faraway places.

Vale of Kashmir shows a Persian princess’s journey
to be married, based on the poem Lalla Rookh by
Thomas Moore. Maybe your family’s story features
a prince or princess, too!

The 5-4-3-2-1 technique highlights one capacity
we hope every visitor experiences while they’re
in the museum: attention. The ability to practice
mindfulness through close looking and slowing
your thoughts to focus on one sensation at a time
is a great way to ground yourself in stressful
situations.

Discovery packs and art cards are refreshed
quarterly around new themes. The current theme
is adventure. What does adventure mean to you?
While you explore this question in the galleries,
tune into the ArtLens App for a brand-new audio
tour experience. In our Family Adventure tour, you
will hear exciting new voices—the children of our
own museum staff members—share where they see
adventure in the museum’s collection. Curators,
conservators, and educators will model different
questions and approaches you can try with your
family.

Finally, if you bring your packs back on your next
visit, you can collect an art explorer patch for new
themes and new items to add to your tool kit. Join
us at the CMA this summer, and embark on your
own art adventure. Explore the galleries, create
new Stories, and discover new treasures together!

Tom Welsh
Director of Performing Arts

This summer, as we hope to emerge further into
a post-pandemic world, City Stages returns for a
month of free outdoor concerts at Transformer
Station. The popular series of weekly performanc-
es by artists from around the globe has become a
cornerstone event in Ohio City, attended by several
thousand people each week and beloved by all.

In the upcoming season, we will present these
concerts on Wednesdays in August, to dovetail
with FRONT 2022. We look forward with great

enthusiasm to welcoming to Cleveland extraor-
dinary artists from all the corners of the globe
in a series unlike any other in Northeast Ohio,
and to reconnecting with our many friends and
partners on the near west side. Ten years ago,
we started City Stages at the corner of 29th and
Church. Amazingly, the first concert in August
will be our 29th! We hope you will join us at
Transformer Station this summer. Visit cma.org
for more details.

www.clevelandart.org 41

MEMBERSHIP

Upcoming Member
and Supporter Events

Annual CMA Fund for Education Cocktail
Party

Thursday, August 4, 5:30-7:00 p.m.

For CMA Fund for Education supporters
Annual CMA Fund for Exhibitions Cocktail
Party

Wednesday, August 17, 5:30-7:00 p.m.

For CMA Fund for Exhibitions supporters
VIP Member Preview for Impressionism to
Modernism: The Keithley Collection
Friday, September 9, 10:00 a.m.-2:00 p.m.
Includes a private preview of the exhibition
and a reception in Provenance restaurant
For Leadership Circle members at the $2,500
level and above

Member Preview Day for Impressionism to
Modernism: The Keithley Collection
Saturday, September 10, 10:00 a.m.-5:00 p.m.

Be among first to see exhibition
before public opening September 11

For members, all levels

LEADERSHIP CIRCLE

Leadership Circle Lunch and Learn
Wednesday, September 28, noon

Lunch at a local restaurant for a deep dive
into a CMA-related topic with a museum
leader

For Leadership Circle members at the $5,000
level and above

EVEN MORE PROGRAMMING IS
AVAILABLE TO YOU IF YOU JOIN AN
AFFINITY GROUP

Asian Art Society

Column & Stripe (Young Professionals Group)
Contemporary Art Society

Friends of African and African American Art
Friends of Photography

Textile Art Alliance

Affinity groups offer members exclusive
opportunities for deeper engagement with
the museum’s collection through special
tours and lectures by curators at the CMA,

as well as unique programs, including visits
to local venues, private collections, and artist
studios. Each group has a distinct identity
with programs designed especially for its
members. Those at the Associate level ($250)
or above can join at least one group for free.

To join or learn more, contact
memberprograms@clevelandart.org.

Join the Leadership Circle
Membership Program Today!

Become a part of a community of annual art
supporters (for educational, conservational,
and curatorial projects) dedicated to helping

the CMA provide free admission and excellent

programs to our community.

Opportunities for this unmatched museum
experience start at the $2,500 donor level.

For more information, contact Allison Tillinger,
program director, Leadership Circle, at
216-707-6832 or atillinger@clevelandart.org.

42 2022 / Issue 2

15% discount for CMA members

Ine New black anguard
$42.50 members

$50 nonmembers

In The New Black Vanguard: Photography
between Art and Fashion, curator and

critic Antwaun Sargent addresses a radical
transformation taking place in fashion and
art today. The featuring of the Black figure
and Black runway and cover models in media
and art has been one marker of increasingly
inclusive fashion and art communities.

More critically, however, the contemporary
visual vocabulary around beauty and the
body has been reinfused with new vitality
and substance, thanks to an increase in
powerful images authored by an international
community of Black photographers.

SHOP ONLINE AT
SHOP.CLEVELANDART.ORG

CURBSIDE PICKUP
IS AVAILABLE!

\rtdoration Jewelry by the Nadira Collection

The Nadira Collection is from creative, “dare
to be rare” couturier and artist Stephanie
Nunn. While bringing awareness to the
visually impaired and blind community, Nunn’s
motto is to “change the world one vision at

a time.” This array of handmade artifacts

are accessories to enlighten your attire with
originality, style, and artisan aesthetics.

Artdoration includes timeless, authentic
pieces of wearable art. These majestic
pieces of jewelry are created with a variety
of semiprecious and glass beads. They are
created to inspire the person wearing each
while showcasing the collection.

aperture

$38.25 members
$45 nonmembers

pany the exhibition Currents ana

Perceptual Drift: Black Art and an Ethics of Looking offers a new interpretive model drawing
on four key works of Black art in the CMA’s collection. Each chapter is a case study in which
leading Black scholars from multiple disciplines challenge the limits of canonic art history
rooted as it is in social and racial inequities. Each approach seeks to transform how art history
is written, introduce readers to complex objects and theoretical frameworks, illuminate
meanings and untold histories, open new entry points into Black art, and publicize content on
Black art acquired by the Cleveland Museum of Art.

Nristcuf

$127.50 members
$150 nonmembers

onversation Ring

$85 members
$100 nonmembers

www.clevelandart.org 43

MEMBERSHIP

A Snapshot of Supporter Events

44 2022 / Issue 2

Alberto Giacometti
Lender and Funder
Celebration on March 10

1. CMA Honorary Trustee
Robert P. Madison with
Gwendolyn Johnson

2. CMA Fund for
Exhibitions supporters
Leigh and Andy Fabens
with CMA Trustee Gini
Barbato

3. Column & Stripe
President and CMA Ex
Officio Trustee Mark
Deeter with Column &
Stripe Vice President
Sarah Royer

4. CMA Fund for
Exhibitions supporter
Joyce Litzler

Alberto Giacometti VIP
Preview for members
of the Leadership Circle
and other upper-level
donors on March 10

5. Leadership Circle
members Josie Anderson
and Amy Viny

6. Leadership Circle
member Braeden Quast
(right) with guest

7. Leadership Circle
member David Anthony
(right) with guests

Leadership Circle
Giving Lunch and

Learn for Currents and
Constellations on March
29 at Blu Restaurant in
Beachwood

8. Jeanne Madison (left),
CMA Deputy Director
and Chief Philanthropy
Officer Colleen Russell
Criste, and Leadership
Circle members Laura
Bauschard and Lisa
Kurzner

9. CMA Director of
Academic Affairs and
Associate Curator of
Special Projects Key

Jo Lee (left), CMA
Trustee Emeritus Elliott
Schlang, and Leadership
Circle member Barbara
Lederman

PHOTOS THE DARK ROOM COMPANY 2022

www.clevelandart.org 45

LEGACY SOCIETY

Leave a Legacy

Carry forward our founders’ vision for a cultural wellspring of art for the
benefit of all the people forever

Low Tide at Pourville, near Dieppe, 1882 1882. Claude Monet (French, 1840-1926). Oil on fabric; 59.9 x 81.3 cm. Gift of Mrs.
Henry White Cannon, 1947.196

Share your love of art and leave a legacy for the
benefit of all the people forever.

A gift to the Cleveland Museum of Art will ensure
its future for generations to come. Make a gift—
make a difference. Share your intentions for a
legacy gift and celebrate your commitment as
you join the members of our Legacy Society.

Contact the Office of Major and Strategic
Giving to discuss the many ways you can
make an estate, life-income, or other gift:
legacygiving@clevelandart.org or
216-707-2588.

46 2022 / Issue 2

Museum Hours
Tuesday-Thursday,
Saturday, Sunday
10:00 a.m.-5:00 p.m.

Friday
10:00 a.m.-9:00 p.m.

Closed Monday

Telephone
216-421-7340 or
1-877-262-4748
Website
www.clevelandart.org

ArtLens App
Wi-Fi network “ArtLens”

Membership
216-707-2268
membership@clevelandart.org

BOARD OF TRUSTEES

Officers

Scott C. Mueller,
Chair

Ellen Stirn Mavec,
First Vice Chair
Dr. William M. Griswold,

President, Director, and
CEO

Virginia N. Barbato,
Vice Chair

James A. Ratner,
Vice Chair

Michelle Jeschelnig,
Secretary

Annapurna Valluri,
Treasurer

Standing Trustees
Stephen W. Bailey
Virginia N. Barbato
Frederick E. Bidwell
Leigh H. Carter

Reverend Dr. Jawanza K.
Colvin

Sarah S. Cutler
Richard H. Fearon
Helen Forbes Fields
Lauren Rich Fine
Charlotte Fowler
Christopher Gorman
Agnes Gund

Provenance Restaurant
and Café
216-707-2600

Museum Store
216-707-2333

Ingalls Library
Tuesday-Friday

10:00 a.m.-4:50 p.m.
Reference desk: 216-707-2530

Ticket Center

216-421-7350 or
1-888-CMA-0033

Fax: 216-707-6659
Nonrefundable service fees
apply for phone and internet
orders.

Parking Garage
The museum recommends pay-
ing parking fees in advance.

Members: $6 flat rate
Public: $12 flat rate

Rebecca Heller
Edward Hemmelgarn
Michelle Jeschelnig
Nancy F. Keithley
Douglas Kern

R. Steven Kestner
William Litzler
William P. Madar
Milton Maltz

Ellen Stirn Mavec
Scott C. Mueller
Stephen E. Myers
Katherine Templeton
O'Neill

Jon H. Outcalt
Dominic L. Ozanne
Julia Pollock

Peter E. Raskind
James A. Ratner
John Sauerland
Manisha Sethi
Kashim Skeete
Richard P. Stovsky
Felton Thomas
Daniel P. Walsh Jr.
John Walton

Paul E. Westlake
Loyal W. Wilson

Magazine Staff
Project manager:
Annaliese Johns

Editor: Aumaine Rose Smith
Designer: John Brown VI

Director of Publications:
Thomas Barnard

CMA collection photography:
Howard T. Agriesti,

David Brichford, and

Gary Kirchenbauer

Editorial photography as noted
Printed in Cleveland by
Consolidated Solutions Inc.
Questions? Comments?
magazine@clevelandart.org

Emeritus Leadership

James T. Bartlett,
Chair Emeritus

Michael J. Horvitz,
Chair Emeritus

Alfred M. Rankin Jr.,
Chair Emeritus

Trustees Emeriti
James T. Bartlett
James S. Berkman
Charles P. Bolton
Terrance C. Z. Egger
Robert W. Gillespie
Michael J. Horvitz
Susan Kaesgen
Robert M. Kaye

Toby Devan Lewis
Alex Machaskee

S. Sterling McMillan III
Reverend Dr. Otis Moss Jr.
William R. Robertson
Elliott L. Schlang
David M. Schneider
Eugene Stevens

Exhibition Support

All exhibitions at the Cleveland
Museum of Art are under-
written by the CMA Fund for
Exhibitions. Generous annual
support is provided by an
anonymous supporter, Dick
Blum (deceased) and Harriet
Warm, Dr. Ben H. and Julia
Brouhard, Mr. and Mrs. Walter
R. Chapman Jr., the Jeffery
Wallace Ellis Trust in memory
of Lloyd H. Ellis Jr., Leigh and
Andy Fabens, Michael Frank in
memory of Patricia Snyder, the
Sam J. Frankino Foundation,
Janice Hammond and Edward
Hemmelgarn, Eva and Rudolf
Linnebach, William S. and
Margaret F. Lipscomb, Bill and
Joyce Litzler, Tim O’Brien and
Breck Platner, Anne H. Weil,
and the Womens Council of the
Cleveland Museum of Art.

Life Trustees

Jon A. Lindseth

Mrs. Alfred M. Rankin
Donna S. Reid

Ex Officio Trustees

Susan Larson,
Womens Council

Mark Deeter,
Column & Stripe

Honorary Trustees
Helen Collis
Robert D. Gries
Joseph P. Keithley
Malcolm Kenney
Robert P. Madison
Tamar Maltz

John C. Morley
Jane Nord

Barbara S. Robinson
Iris Wolstein

Education Support

All education programs at

the Cleveland Museum of Art
are underwritten by the CMA
Fund for Education. Generous
annual support is provided

by Gail Bowen in memory of
Richard L. Bowen, Cynthia

and Dale Brogan, Mr. and Mrs.
Walter R. Chapman Jr., the
Jeffery Wallace Ellis Trust in
Memory of Lloyd H. Ellis Jr., the
Sam J. Frankino Foundation,
Florence Kahane Goodman,
Janice Hammond and Edward
Hemmelgarn, Eva and Rudolf
Linnebach, Pamela Mascio,
Sally and Larry Sears, the
Thompson Family Foundation,
and the Womens Council of the
Cleveland Museum of Art.

Ohio Arts 5

www.clevelandart.org 47

11150 East Boulevard Periodicals
postage paid at

University Circle
Cleveland, Ohio

Cleveland, Ohio 44106-1797

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